An intermediate level arrangement for trombone with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intentio Show More...
An intermediate level arrangement for trombone with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses.
The PlentyMusic video sheet music score plays back at 36 dotted quarter notes or crotchet beats to the minute.
Improve music practice routines with PlentyMusic piano accompaniments playing back at 32, 34, 36, 38, 40 & 42 dotted quarter note or crotchet beats to the minute which are available from the PlentyMusic website.
In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score.
The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection.
The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339.
As there is a reduction in the musical texture some of the original musical content has been omitted.
The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work.
This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
Added: 3rd June, 2026 08:06 AM |
Views : 1
In this arrangement for trombone accompanied by piano a tempo of 132 quarter note (crotchet) beats to the minute is used in the realisation and piano Show More...
In this arrangement for trombone accompanied by piano a tempo of 132 quarter note (crotchet) beats to the minute is used in the realisation and piano accompaniments are in place enabling the trombonist to practice as part of an ensemble. The accompaniments play at 120, 132 & 144 quarter note or crotchet beats per minute whilst the sounding key is Bb. The repeats are not in place in either the realisation or the accompaniments. The essential elements of Mozart’s compositional style are very evident in this work available to a wide range of instruments and instrument combinations on the PlentyMusic website. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive to style. The Divertimento (and the related Viennese Sonatinas) are relatively easy works and well worth exploring. The music editor suggests omitting the trill in bar 26 of the piano part in the first instance. Close
Added: 1st June, 2026 13:06 PM |
Views : 2
Traümerie (Dreaming) was originally a piano work from Robert Schumann’s “Scenes of Childhood” Opus 16 published in 1838. It is a very familiar Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann’s “Scenes of Childhood” Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and the music editor suggests listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repertoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Piano accompaniments are in place. Close
Added: 31st May, 2026 12:05 PM |
Views : 8
The Minuet is performed without the written repeats sounding in the realisation and has been transposed down a semitone to the key of Ab. This is a qu Show More...
The Minuet is performed without the written repeats sounding in the realisation and has been transposed down a semitone to the key of Ab. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score although when necessary there are some octave transpositions to keep to a convenient range of the solo instrument. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Whilst originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. The suggested date for the minuets composition is 1816 establishing it as the work of a teenager. Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No piano pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. This is a hidden gems of the music repertoire that needs to played and become better known by instrument players and their audiences. An ideal concert even encore movement, there are many arrangements to be discovered on the PlentyMusic website. A part for the trombone is appended to the full score in the pdf download. Close
Added: 31st May, 2026 07:05 AM |
Views : 9
Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without Show More...
Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. A trombone part is appended to the full score which can be downloaded as a pdf file. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the chamber music scores is 116 quarter note beats to the bar whilst both the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section and trombonists may well like to play this section an octave higher than written. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. The movement was originally a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small ornamental notes in bar 41 do not sound in the realisation and possibly are best not added until the movement can be played competently. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Should any changes, re-scoring or arrangements for another instrument grouping be needed please contact the PlentyMusic Office and the music editor will respond to the request. PlentyMusic. A trombone part is appended to the full score. Close
Added: 30th May, 2026 10:05 AM |
Views : 7
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. The editor suggests listening to many of the excellent performances of this work. A trombone part is appended to the full score. Close
Added: 30th May, 2026 07:05 AM |
Views : 12
Galop | Can-Can by J. Offenbach in an intermediate level arrangement viola with piano accompaniment in the original key of D majo. Dating from 1858 th Show More...
Galop | Can-Can by J. Offenbach in an intermediate level arrangement viola with piano accompaniment in the original key of D majo. Dating from 1858 this is one of the most familiar melodies in the history of music
This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable melody. This is a genuine performance piece to be enjoyed by both instrumentalists and audiences alike. It is very evident that Jacques Offenbach had a real gift and sense of melody and fun in making music. Not necessarily favoured by the music critics of the time, much of his music has nevertheless remained in the repertoire. Nietzsche & Zola also commented on his operettas for those who want to discover more about the ambivalence of his status.
String players will need to pay attention to the range of articulations and dynamics needed in a performance.
Repeat signs are in place in the score whilst the realisation plays back at 120 quarter note (crotchet) beats in the introductory first section and 132 quarter (crotchet) note beats in the second.
As unmistakenly music intended for dancing there is a regular phrase structure in the second section and repetition is a strong feature of the composing process. There is an opening 23 bar section marked Allegro succeeded by a faster section which has an A B C A A + Coda structure with a 2 bar link between sections B & C.
“Le Galop” is often referred to as the “Can-Can” and was first performed in 1858 causing a bit of a stir because of its risqué nature though more in the visual rather than musical sense. Le Galop is from Act 2 of Offenbach’s operetta “Orpheus in the Underworld.” The can-can dance become associated with the Parisian cabarets of the Moulin Rouge and Folies Bergère. The easily remembered tune became associated with the high kicking female can-can dancers of the day.
Jacques Offenbach (1819 – 1880) whilst German born is considered to be a French composer known for the lighter side of opera referred to as operetta. Many of his works are still staged and he was an important influence on later composers of the genre. In his early days he earned his living as a cellist & conductor before producing his first full length operetta “Orpheus in the Underworld” in 1858. His final work “The Tales of Hoffmann” was incomplete at the time of his death. Close
Added: 28th May, 2026 11:05 AM |
Views : 15
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Co Show More...
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 92 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are in this category. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been omitted in the realisation The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy.
Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 88 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 92 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 100 and Accompaniment 5 at 104 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close
Added: 25th May, 2026 07:05 AM |
Views : 41
A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs Show More...
A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs a needs to be played with a slight speeding up and slowing down of the tempo at appropriate places in the score which is described as “tempo rubato’” and features in much of the best Chopin playing. Understand that the realisation doesn’t apply rubato in a totally satisfactory way. In Bar 21 there is a triplet option sounds for the playing of the ornaments whilst the trill in the penultimate bar begins on the lower note. The original piano work does have some additional ornaments which the appropriate performers may wish to consider adding after studying the s piano score. The repeats are not played in the playback mp3. Piano accompaniments are also in place. Close
Added: 24th May, 2026 14:05 PM |
Views : 39
In this arrangement for viola & piano of Boccherin’s Minuet & Trio from his String Quintet Opus 11 No.5 the musical texture has been simplified into Show More...
In this arrangement for viola & piano of Boccherin’s Minuet & Trio from his String Quintet Opus 11 No.5 the musical texture has been simplified into melody and accompaniment. The ornaments have been written out in full to assist players although they are probably best omitted in the early stages of learning the piece. This movement requires a very consistent approach which will be a challenge to players inexperienced in performing music from this era. A tempo of 96 quarter note (crotchet) beats to the minute is recommended. Piano accompaniments are in place both with and without repeats enabling violists to enjoy ensemble playing as part of their practice routines. Close
Added: 24th May, 2026 07:05 AM |
Views : 40
This is an arrangement for viola 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 viola 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 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 viola 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 viola part is appended to the full music score in the pdf download. Close
Added: 21st May, 2026 15:05 PM |
Views : 76
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this intermediate level arrangement for viola with piano accompanimen Show More...
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this intermediate level arrangement for viola with piano accompaniment features only the second Trio in a work that has two Trio sections. Minuet and Trio are performed without the written repeats sounding in the realisation. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the music scores is 120 quarter note beats to the bar whilst the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations and players would be wise to explore the question and answer aspect of this piece. The movement originates as a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. A viola part is appended to the full score. Close
Added: 21st May, 2026 11:05 AM |
Views : 49
The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schu Show More...
The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score with the falling melodic shape / motif at the end of the Minuet being a lovely challenge for performers to deliver with delicacy and musicality. It is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager! Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. This is one of those hidden gems in the music repertoire that needs to played and become known by instrument players and their audiences. An ideal concert even encore movement. there are many arrangements to be discovered on the PlentyMusic website. A part for the viola is appended to the full score in the pdf download. Close
Added: 21st May, 2026 08:05 AM |
Views : 54
This is an arrangement for clarinet 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 clarinet 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. 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 clarinet in Bb part part is appended to the full music score in the pdf download. Piano accompaniments are also in place playing at 92, 96, 100 & 104 Close
Added: 12th May, 2026 15:05 PM |
Views : 161
This is shortened version of Mozart’s “Alla turca” in an arrangement for violin accompanied by piano. It should be an easy piece to learn in tha Show More...
This is shortened version of Mozart’s “Alla turca” in an arrangement for violin accompanied by piano. It should be an easy piece to learn in that it one of the most immediately recognisable and popular pieces of music in the repertoire. 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. It is a very adaptable piece stylistically and in the repertoire of classical musicians, folk bands, jazz groups and café style ensembles. The small decorative notes are probably best omitted in the first stages of learning the piece. A violin part is appended to the full score. The music editor has left the staccato markings in place from the piano score although they might not be totally appropriate a violinist. Close
Added: 16th April, 2026 06:04 AM |
Views : 294
In the original key of A major the realisation plays back at 92 quarter note beats to the minute. The Minuet is taken from Boccherini's String Quartet Show More...
In the original key of A major the realisation plays back at 92 quarter note beats to the minute. The Minuet is taken from Boccherini's String Quartet Opus 11 No.5. Boccherini was a fine cellist whilst the sheet music part for the cello is notated in the tenor clef.
The small notes which are in the string quintet score do not sound in the realisation for cello and piano but can be played.
Ossia staves are in place on the sheet music score showing how the ornaments can be played.
In both the playback score and the sheet music video the repeats are not played.
The melodic line especially in the first Minuet demonstrates all the essential elements of classical style. In fact this movement offers much to learn about many performance aspects of playing a minuet. Formally the repeats are played in the Minuet and Trio but not in the repeat of the first Minuet after the Trio. A performance would typically be a follows: Minuet 1 AABB Trio AABB Minuet 1 AB (without repeats)
The repetitive element is strong in the first Minuet structured on 2 bar motifs or shapes in a regular phrase pattern. Whilst the minuet was a dance form this music is a stylised representation of the form not intended as a dance. Two section binary form AB is in place in both the Minuet and Trio
The first Minuet is very much about melody and accompaniment whilst the second Minuet or Trio is an interesting movement because it embraces ensemble playing with much sharing of material between the parts.
Both staccato and legato articulations need to be demonstrated in a performance
Boccherini was in a perfect moment when he composed the movement which possesses many of the elements of classical style
Accompaniments are in place playing with and without repeats at 88, 92, 96,100 & 104 quarter note (crotchet) bpm.
The first Minuet is in the key of A and at the end of the first A section the key of the dominant E is established. The B section of the Minuet explores the tonic minor before returning to the music of the opening section in the home key of A. The first section is 8 bars long and the second 12 bars (4+8)
The second Minuet or Trio is in the key of the subdominant D. Similarly there is a modulation to the dominant at the end of the first section before a return to the home key. The phrase structure of the Trio is quite symmetrical 8 bars in the fist and 16 bars in the second section.
Both minuets begin with an anacrusis or upbeat.
For any student of composition student this is an excellent movement for analysis. There are some lovely composition ideas and Boccherini's compositional approach is both concise and innovative with syncopation and a sense of drama and purpose. For both the listener and the performer this composition has much to offer. Close
Added: 3rd April, 2026 06:04 AM |
Views : 357
In the original key of A major the realisation plays back at 96 quarter note beats to the minute.The Minuet is taken from Boccherini's String Quartet Show More...
In the original key of A major the realisation plays back at 96 quarter note beats to the minute.The Minuet is taken from Boccherini's String Quartet Opus 11 No.5
The small notes which are in the string quintet score do not sound in the realisation for flute and piano but can be played.
Ossia staves are in place on the sheet music score showing how the ornaments can be played.
In both the playback score and the sheet music video repeats are played.
The melodic line especially in the first Minuet demonstrates all the essential elements of classical style. In fact this movement offers much to learn about many performance aspects of playing a minuet. Formally the repeats are played in the Minuet and Trio but not in the repeat of the first Minuet after the Trio. A performance would typically be a follows: Minuet 1 AABB Trio AABB Minuet 1 AB (without repeats)
The repetitive element is strong in the first Minuet structured on 2 bar motifs or shapes in a regular phrase pattern. Whilst the minuet was a dance form this music is a stylised representation of the form not intended as a dance. Two section binary form AB is in place in both the Minuet and Trio
The first Minuet is very much about melody and accompaniment whilst the second Minuet or Trio is an interesting movement because it embraces ensemble playing with much sharing of material between the parts.
Both staccato and legato articulations need to be demonstrated in a performance
Boccherini was in a perfect moment when he composed the movement which possesses many of the elements of classical style
Accompaniments are in place playing with and without repeats at 88, 92, 96,100 & 104 quarter note (crotchet) bpm.
The first Minuet is in the key of A and at the end of the first A section the key of the dominant E is established. The B section of the Minuet explores the tonic minor before returning to the music of the opening section in the home key of A. The first section is 8 bars long and the second 12 bars (4+8)
The second Minuet or Trio is in the key of the subdominant D. Similarly there is a modulation to the dominant at the end of the first section before a return to the home key. The phrase structure of the Trio is quite symmetrical 8 bars in the fist and 16 bars in the second section.
Both minuets begin with an anacrusis or upbeat.
For any student of composition student this is an excellent movement for analysis. There are some lovely composition ideas and Boccherini's compositional approach is both concise and innovative with syncopation and a sense of drama and purpose. For both the listener and the performer this composition has much to offer. Close
Added: 2nd April, 2026 06:04 AM |
Views : 352
In this arrangement for flute accompanied by piano a tempo of 132 quarter note (crotchet) beats to the minute is used in the realisation and piano acc Show More...
In this arrangement for flute accompanied by piano a tempo of 132 quarter note (crotchet) beats to the minute is used in the realisation and piano accompaniments are in place enabling the flautist to practice as part of an ensemble. The accompaniments play at 120, 132 & 144 quarter note or crotchet beats per minute. The repeats are not in place in either the realisation or the accompaniments. The essential elements of Mozart’s compositional style is very evident in this work available to a wide range of instruments and instrument combinations on the PlentyMusic website. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive to style. The Divertimento (and the related Viennese Sonatinas) are relatively easy works and well worth exploring. The music editor suggests omitting the trill in bar 26 of the piano part in the first instance. Close
Added: 24th March, 2026 15:03 PM |
Views : 469
Fauré’s Improvisation from his Opus 84 in an intermediate level arrangement for clarinet in A with piano accompaniment
Both the clarinet player an Show More...
Fauré’s Improvisation from his Opus 84 in an intermediate level arrangement for clarinet in A with piano accompaniment
Both the clarinet player and the pianist should be aiming for a singing legato in their playing and be prepared to use rubato, an approach to playing from Chopin’s time that embraces give and take in respect to tempo.
Use of the sustaining pedal is suggested and indicated in the score but the sound needs to be controlled without too creating too ambient a sound.
It is a short intense movement in which many change of moods are expressed and tonal ambiguities implied. The sheet music requires careful reading and there is some triplet figuration in place that creates a number of 3 against 2’s cross rhythms.
In character the music is quite fragmentary and whilst there are some repeating elements and textural variation the essential shapes create memorable impressions and great beauty suggesting the composer very much understood contemporary times.
The realisation lacks the fluidity and sensitivity of a live performance.
This is not a typical Fauré piece composed at the beginning of the 20th century when Debussy’s music was widely coming to the fore in Paris.
This is an the ideal encore piece possibly without suggesting the name of the composer but do suggest the century of its composition?
Piano accompaniments are in place playing at 68, 70, 72 and 74 quarter note (crotchet) bpm. A clarinet in A part appropriately transposed is appended to the full score. Close
Added: 18th March, 2026 12:03 PM |
Views : 464
An arrangement for oboe and piano of a short characterful piece originally intended to be sung. The tempo of the realisation is 132 quarter note or (c Show More...
An arrangement for oboe and piano of a short characterful piece originally intended to be sung. The tempo of the realisation is 132 quarter note or (crotchet) bpm. Enrique Granados (1867 – 1916) was a Spanish nationalist composer born in Catalonia. While he composed art music there are many folk elements incorporated into his style as is the case with this short song or tonadilla. The small notes do not feature in the playback. This is an excellent performance piece giving opportunity to players to slow down at the end of phrases even to the point of exaggeration. Both the major and minor forms of the scale are also explored. An ideal piece as an encore. Piano accompaniments are also in place. This is the perfect piece to learn about the performing aspects of music where instrumentalists can explore the tonal and tempo aspects of their playing. The title roughly translates as "The Tralala and the Picking". Close
Added: 4th March, 2026 10:03 AM |
Views : 462
Music from the English pastoral tradition with strong references to the folk song tradition composed in a 6/8 time.
Salix was originally a work compo Show More...
Music from the English pastoral tradition with strong references to the folk song tradition composed in a 6/8 time.
Salix was originally a work composed for organ in 1937 becoming part of the Plymouth Suite which dates from 1939.
In ABA form it is a beautifully crafted movement evidencing the excellent musical training in place in England in the composer's time. The repeat of the A section is a varied repeat.
The chordal element is strong as are the musical lines which are woven into the musical texture.
The word Salix references the Weeping Willow tree and the music has several modal references particularly evident at cadences.
The music needs to be played with a legato touch. The arrangement for flute and piano keeps to the original key whilst piano accompaniments are in place playing at 30, 31, 32, 33 and 34 dotted quarter note (crotchet) beats to the minute. There are a number of octave transpositions in the flute part to keep within the instrument’s range.
Percy Whitlock (1902 – 1946) was an English composer known for his contributions to the light music and church repertoires. He was both a civic and church organist and a railway enthusiast. He often used the pseudonym Kenneth Lark when writing. Sadly his life was cut short by TB. Close
Added: 3rd March, 2026 06:03 AM |
Views : 484
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for trombone and piano. A trombone Show More...
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for trombone and piano. A trombone part is attached to the full score which is available from PlentyMusic as a pdf download. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score which is available to view on the PlentyMusic YouTube channel. This is music that is very appropriate music for a solemn processional in a social context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor observes that instrumental arrangements of a vocal piece are invariably played at a faster tempo. This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close
Added: 17th February, 2026 08:02 AM |
Views : 434
An arrangement of this ragtime waltz for viola accompanied by piano in the key of G. A tempo of 110 quarter note (crotchet) beats to the minute is sug Show More...
An arrangement of this ragtime waltz for viola accompanied by piano in the key of G. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and used in the realisation. There are some syncopation challenges whilst piano accompaniments are in place. A viola part is appended to the full score. Close
Added: 14th February, 2026 08:02 AM |
Views : 592
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for alto viola and piano.
The ari Show More...
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for alto viola and piano.
The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar.
When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement.
Piano accompaniments are in place playing at 62, 64, 66 and 68 bpm enabling the saxophonist to enjoy ensemble music as part of their practice routines.
The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score of another arrangement on our YouTube channel.
This is music that is very appropriate music for a solemn processional or remembrance in a social context.
It is usual to present baroque scores with minimal score detail. The music in the realisation plays back at a tempo of 66 half note or minim beats to the minute.
This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players.
There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close
Added: 11th February, 2026 08:02 AM |
Views : 460
An arrangement for alto saxophone and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim Show More...
An arrangement for alto saxophone and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent piano accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. An alto saxophone part appropriately transposed is appended to the full score. Piano accompaniments are in place. Close
Added: 8th February, 2026 18:02 PM |
Views : 446
andel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for alto saxophone and piano.
The Show More...
andel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for alto saxophone and piano.
The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar.
When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement.
Piano accompaniments are in place playing at 62, 64, 66 and 68 bpm enabling the saxophonist to enjoy ensemble music as part of their practice routines.
The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score of other arrangement on our YouTube channel.
This is music that is very appropriate music for a solemn processional or remembrance in a social context.
It is usual to present baroque scores with minimal score detail. The music in the realisation plays back at a tempo of 66 half note or minim beats to the minute.
This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players.
There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close
Added: 8th February, 2026 14:02 PM |
Views : 516
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for flute and piano. Instrument par Show More...
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for flute and piano. Instrument parts are attached to the full score which is available from PlentyMusic as a pdf download. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score which is available to view on the PlentyMusic YouTube channel. This is music that is very appropriate music for a solemn processional in a social context context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor observes that instrumental arrangements of a vocal piece are invariably played at a faster tempo. This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close
Added: 2nd February, 2026 15:02 PM |
Views : 565
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for cello and piano.
The aria or Show More...
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for cello and piano.
The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar.
When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement.
Piano accompaniments are in place playing at 62, 64, 66 and 68 bpm enabling the cellist to enjoy ensemble music as part of their practice routines.
The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score of other arrangement on our YouTube channel.
This is music that is very appropriate music for a solemn processional or remembrance in a social context.
It is usual to present baroque scores with minimal score detail. The music in the realisation plays back at a tempo of 66 half note or minim beats to the minute.
This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players.
There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close
Added: 28th January, 2026 13:01 PM |
Views : 736
A short but quite charming piece from the composer’s Opus 1 collection. In this arrangement for cello accompanied by piano, the tempo of the realisa Show More...
A short but quite charming piece from the composer’s Opus 1 collection. In this arrangement for cello accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 26th January, 2026 13:01 PM |
Views : 552
When The Saints Go Marching In arranged for cello and piano in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst t Show More...
When The Saints Go Marching In arranged for cello and piano in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A cello part is appended to the full score. Close
Added: 26th January, 2026 08:01 AM |
Views : 660
Over the Waves (Sobre las Olas) in an arrangement for trombone with piano accompaniment. This melody is very much associated with the music of funfai Show More...
Over the Waves (Sobre las Olas) in an arrangement for trombone with piano accompaniment. This melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. This waltz melody should be played at a tempo of around 60 dotted half notes or minim beats to the minute with a singing legato. Accompaniments are in place playing at 60, bpm and a trombone part is appended to the full score in the pdf sheet music download. This is an excellent piece to develop tonal quality over the playing range of the trombone. Close
Added: 21st January, 2026 15:01 PM |
Views : 747
An arrangement for trombone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music Show More...
An arrangement for trombone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The sounding key is F and there are piano accompaniments in place to encourage ensemble playing. Close
Added: 21st January, 2026 09:01 AM |
Views : 770
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habaner Show More...
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular worldwide. This arrangement for trombone and piano is in the key of Bb. A tempo of 62 quarter note (crotchet) beats to the minute is used in the playback. The melody needs to be played with a legato touch whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Piano accompaniments are in place playing at 58, 60, 62 and 64 quarter note or crotchet beats to the minute. The lines of music are rhythmically independent and the left hand piano part should not end up being synchronized with the triplet figuration of the melody. There are many different versions of this piece and the triplet figuration provides challenges on how the music can be both notated and played. Popular rhythms particularly those derived from dance travelled very quickly around the globe in these times and the habanera pattern became an essential rhythmic feature of Argentinian tango music and is familiar from Bizet’s opera Carmen. If you are struggling to understand how to play cross rhythms have a look at one of the threes against two polyrhythms tutorials that are available on YouTube. This is an excellent movement in learning how to play and understand triplets. Close
Added: 20th January, 2026 16:01 PM |
Views : 729
An arrangement for trombone and piano of this popular English folk song in the dorian mode with D being the keynote. The realisation plays at 48 dotte Show More...
An arrangement for trombone and piano of this popular English folk song in the dorian mode with D being the keynote. The realisation plays at 48 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins in the English ballad culture of many centuries ago. A trombone part is appended to the full score. The three accompaniment options have tempi of 1) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. The advice is to play the movement with a one to a bar beat or pulse. Close
Added: 20th January, 2026 11:01 AM |
Views : 614
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in F is for viola accompanied by piano. The playback tempo is 84 quarter note beats to the minute. Accompaniments are in place playing at 82, 84, 86 and 88 quarter note (crotchet) beats per minute. A click track introduction is not necessary. This is an excellent piece to develop tonal quality and legato playing. Close
Added: 19th January, 2026 20:01 PM |
Views : 545
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arra Show More...
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arrangement for viola and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played & performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A viola part is appended to the full score whilst the player has the option of performing the repeat of the chorus at the octave. Close
Added: 19th January, 2026 15:01 PM |
Views : 793
When The Saints Go Marching In arranged for viola and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst t Show More...
When The Saints Go Marching In arranged for viola and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A viola part is appended to the full score and piano accompaniments are in place. REpeats are in place both in the realisation and the accompaniments. Close
Added: 19th January, 2026 12:01 PM |
Views : 599
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habaner Show More...
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular worldwide. This arrangement for viola and piano in the key of D. A tempo of 62 quarter note (crotchet) beats to the minute is suggested and used in the playback. The melody needs to be played with a legato touch whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Piano accompaniments are in place playing at 58, 60, 62 and 64 quarter note or crotchet beats to the minute. The lines of music are rhythmically independent and so the left hand piano pattern should not end up being synchronized with the triplet figuration of the right hand! There are many different versions of this piece and the triplet figuration provides challenges on how the music can be both notated and played. Popular rhythms particularly those derived from dance travelled very quickly around the globe in these times and the habanera pattern became an essential rhythmic feature of Argentinian tango music and is familiar from Bizet’s opera Carmen. If you are struggling to understand how to play cross rhythms have a look at one of the threes against two polyrhythms tutorials that are available on YouTube. This is an excellent movement in learning how to play and understand triplets. Close
Added: 19th January, 2026 11:01 AM |
Views : 812
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly an Show More...
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most familiar of Latin American melodies. The waltz is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at a tempo of 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Piano accompaniments are available as an mp3 download from the PlentyMusic website at tempi of (1) 56 (2) 58 and (3) 60 dotted half note (minim) beats to the minute. The music has been transposed to the key of D suitable for the range of the viola. Close
Added: 17th January, 2026 12:01 PM |
Views : 728
An arrangement for viola with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music st Show More...
An arrangement for viola with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. Piano accompaniments are in place and the violist has the option of playing the repeat at the octave. Close
Added: 17th January, 2026 07:01 AM |
Views : 777
In this arrangement the flautist plays Voice 1 and the piano voices 2 and 3. The realisation plays back at a tempo 84 quarter note (crotchet) beats t Show More...
In this arrangement the flautist plays Voice 1 and the piano voices 2 and 3. The realisation plays back at a tempo 84 quarter note (crotchet) beats to the minute
Piano accompaniments are in place playing at 76, 80, 84 and 88 quarter note (crotchet) beats per minute giving opportunity for ensemble practice as part of music routines.
This is an uplifting movement played at an appropriate tempo.
There is quite an amount of tempo variation in the way that performers approach playing this movement.
Retain a lightness in the playing intention and avoiding sounding too deliberate.
The points of imitation need to be clearly articulated
The inventions and sinfonias are great movements to assist in an understanding of musical process whilst at the same time help improve intonation and encourage good listening and ensemble playing skills.
There is considerable rhythmic detail that requires attention when playing this sinfonia including tied notes, long notes, short notes, off the beat notes and dotted notes
The lines of this sinfonia connect quite beautifully making it in terms of its outcome something of a inspiring musical jigsaw in that everything fits beautifully?
There are both scale and chordal shapes that feature in this movement
Be prepared to count when playing this sinfonia which to be fair is needed for playing most of Bach’s music.
Bach generally explores the closely related keys in the sinfonias namely the relative minor, (B minor) the sub dominant (G) and the dominant (A)
Keys in the sinfonias maybe established by a perfect cadence but are more likely to be referenced by passing modulations in which a key is referenced but not actually established.
A flute part is appended to the full score. Typically baroque scores have very little score detail in terms dynamics and articulations but if an edited would be more useful please advise the PlentyMusic office. Close
Added: 4th December, 2025 11:12 AM |
Views : 808
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habaner Show More...
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular worldwide. This arrangement for oboe and piano in the key of D. A tempo of around 60 quarter note (crotchet) beats to the minute is suggested and used in the playback. The melody needs to be played with a legato touch whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Piano accompaniments are in place playing at 58, 60, 62 and 64 quarter note or crotchet beats to the minute. The lines of music are rhythmically independent and so the left hand piano pattern should not end up being synchronized with the triplet figuration of the right hand! There are many different versions of this piece and the triplet figuration provides challenges on how the music can be both notated and played. Popular rhythms particularly those derived from dance travelled very quickly around the globe in these times and the habanera pattern became an essential rhythmic feature of Argentinian tango music and is familiar from Bizet’s opera Carmen. If you are struggling to understand how to play cross rhythms have a look at one of the threes against two polyrhythms tutorials that are available on YouTube. Close
Added: 21st November, 2025 10:11 AM |
Views : 1199
Raie Da Costa’s “At the Court of Old King Cole” arranged for clarinet in B flat with piano accompaniment.
Have fun playing this arrangement eith Show More...
Raie Da Costa’s “At the Court of Old King Cole” arranged for clarinet in B flat with piano accompaniment.
Have fun playing this arrangement either in a seasonal context or perhaps as a concert encore. The music originates is a piano solo from the 1930’s
There are recordings available on streaming media including a piano and orchestra arrangement.
Piano accompaniments are in place playing at 68, 70, 72,74 and 76 half note (minim) beats to the minute.
The melody line played by the clarinet for much of the time has a very straightforward part to play but no doubt this can expanded and embellished in the hands of a competent clarinettist.
Commentaries suggest that Raie Da Costa was a fine embellisher of the melody line and this is an option that can and possibly should be taken on board.
Loco is a term meaning play at the written octave after playing possibly at the octave in the section before.
Raie Da Costa was a classical trained musician well versed in the rules of counterpoint and harmony. Her music is simply a delight to arrange with its challenges of trying to manage exceptional musicality and technical challenges in the most musical and practical way as possible.
The melody has its origins in the nursery rhyme Old King Cole. In the poem the merry king calls for his pipe, bowl and musicians.
This shape dotted eighth note (quaver) followed by a sixteenth note (semiquaver) is played in a triplet swing pattern. The swing element is certainly and aspect of playing this score but does not dominate as in many of Raie Da Costa’s piano novelty pieces.
To make this playable even for two people there has to be a thinning out of notes and some changes to the texture and voicing of the tenths found in the left hand part of the piano score.
At the Court of Old King Cole has a playback tempo of 72 half note (minim) beats to the minute but it can be played faster.
There is generally not too much score detail in novelty piano scores though the music unfolds with plenty of figuration and twists and turns. The novelty pianist/composers had an excellent knowledge of chords, harmony and all the musical colouring that could be achieved with adjustments to the chord voicing.
Raie Da Costa (1905 – 1934) is very much identified with the novelty piano era in England alongside with other contemporary greats including Billy Mayerl (1902 – 1959)
Like Mayerl she was versatile both as a working musician and in her composing approach although as a young pianist her focus was very much on performing.
When giving concerts she would play novelty music together with popular classics from the repertoire.
She was born in Cape Town, South Africa of Portugese heritage arriving in England when she was 19 to study at the Tobias Matthay School with the intention of becoming a concert pianist.
A brilliant talent and pianist equally at home playing or composing whether in the classical or popular idiom. She also worked with orchestras.
Sadly because as a young performing pianist and artist her focus was on playing the piano where an income could be enjoyed so sadly composing was not a priority.
Thankfully she recorded much music from 1928 first with Parlophone and then later with HMV that provides evidence of her exceptional talents and gifts especially with regard to her left hand technique. Columbia had signed Billy Mayerl so there was healthy competition in the market.
Da Costa was known and billed to as “The Parlophone Girl – Dance Pianiste Supreme”and in the 1930’s as “The World’s Greatest Syncopated Pianist.”
At the Court of Old King Cole was published by Keith Prowse & Co. Ltd. in 1934.
The 1920’s were a great time for piano players with both jazz and novelty piano emerging as popular styles after the ragtime era.
Commentators of the time suggest that Raie Da Costa was versatile, charming and popular, a great embellisher of the melodic line and at the same time in possession a great left hand piano technique who also was known to sing!
Obviously so much that is written about her is conjecture but there is sheet music and recordings to evidence her great gifts. Close
Added: 28th October, 2025 11:10 AM |
Views : 1595
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 requi 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 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 a plain music score is appended to the edited music score. Some suggested pedalling has been indicated in the A section. The music editor suggests changing the sustaining pedal as the harmony changes and avoids its use in the B middle section.
Usinging the thumb to play two notes and changing the finger on a note are two techniques that can be used when playing the movement. Whilst this is a fairly straightforward movement there is some subtle compositional detail relating to the chromatic lines. The Opus 39 Album for the Young is a collection of 24 piano pieces that capture the compositional style of the Tchaikovsky at a playable level. Close
Added: 1st October, 2025 07:10 AM |
Views : 2931
This music originates as an Italian art song dating from the 1780’s and is essential repertoire for classical music vocalists. Tommaso Giordani, hi Show More...
This music originates as an Italian art song dating from the 1780’s and is essential repertoire for classical music vocalists. Tommaso Giordani, his brother Giuseppe Giordani or perhaps even their father are considered to be responsible for its composition.
Songs are excellent for instrumentalists to play with piano accompaniments because they encourage legato playing, the development of tone and secure performance skills
In the PlentyMusic score download phrasing is in place although this can be reviewed. Some longer phrases may be possible if the breath control the brass player is in place.
Trumpet players should be aiming for good intonation (playing in tune) in the first instance.
Playing melodies from songs offer excellent material for instrumentalists to expanding the tonal aspects and quality of tone in their playing.
A trumpet in B flat part appropriately transposed is appended to the full score in the pdf download.
The music has been transposed to the key of C in this arrangement.
Exaggerated playing needs to be avoided.
There are opportunities to slow down the tempo at the end of phrases.
Ornaments have been written out in full to add clarity to the sheet music score
The realisation plays back at 66 quarter note (crotchet) beats to the minute.
Piano accompaniments are in place playing at 64, 66, 68, 70 & 72 bpm
The music editor has removed some of the accent signs in the accompaniment simply because they are not appropriate on a modern piano.
The tempo indication in the score is Larghetto which translates to “slightly slow’ suggesting a speed somewhere between andante and adagio.
As part of their music studies trumpet players would be well advised to listen to performances of Caro mio ben by both singers and instrumentalists
Caro mio ben is described as an arietta which is a short simple song for solo voice. Arietta is a diminutive form of the term aria.
Born in Naples Tommaso Giordani worked and lived in England and Dublin, Ireland.
Giordani is identified with the galant style in music history which is one of several pre-classical music styles that emerged after the baroque. Close
Added: 22nd September, 2025 10:09 AM |
Views : 1966
An arrangement for flute and piano of Reynaldo Hahn’s beautiful melody “A Chloris.” This beautiful melody has its origins as a song and has bee Show More...
An arrangement for flute and piano of Reynaldo Hahn’s beautiful melody “A Chloris.” This beautiful melody has its origins as a song and has been transposed octave higher than set in the original music score. There has been some editing of the note values in the melodic line when considered appropriate whilst the step wise movement and figuration in the accompaniment suggest a composer embracing the past. Dating from 1916 it something of a pastiche on Baroque style with a bass line that clearly references Bach’s Air on a G String. The score detail is written in French. The soloist should be aiming for beauty of sound and in a performance both players needs to demonstrate a controlled and consistent approach.
In the realisation the play back tempo is 30 half note beats a minute (bpm) At bar 10 the texture changes and the music editor suggests that possibly it is appropriate for there to be a slight increase in tempo until the figuration of the accompaniment returns half way through bar 12.
A slight slowing down is appropriate at the end of phrases and the ornaments in bar 16 and 19 could well imitate the rhythmic shape of the accompaniment.
Accompaniments are in place playing at 29, 30, 31 & 32 half note (minim) beats to the minute.
Reynaldo Hahn 1874-1947 was born in Venezuela although he is more readily identified as a French composer where he lived most for most of his life and where he became a citizen in 1907.
He is particularly remembered for his contribution to the song repertoire which was a strong French music tradition in his lifetime.
Like many composers he is identified with the “just below the surface group of composers” who wrote fine well crafted music but never became mainstream, well known even though they might have composed a famous piece of music. Hahn's music is deserving of more attention.
Hahn was very well connected to people in the arts and was friends with Marcel Proust and Sarah Bernhardt.
Hahn came from a prosperous family and spoke several languages. He had great respect for Fauré and as a musician was trained by some of France’s greatest teachers. He is described as a fin de siècle composer rather than one who embraced the 20th century and its challenges. As a French composer he was overshadowed somewhat by Debussy and Ravel.
He contributed music to the concert hall, songs and chamber music for the salon, incidental music, ballet, opera for the theatre and solo piano, piano duet and two piano works. Like many of his contemporaries he was reluctant to challenge the great piano repertoire of Beethoven, Schubert and Brahms.
He was highly regarded as a conductor particularly of Mozart operas focusing particularly onthe composer’s intentions rather than stylistic influences prevailing at the time. Close
Added: 15th September, 2025 14:09 PM |
Views : 2135
An arrangement of Ivor Gurney’s song Sleep for soprano saxophone and piano in the sounding key of B flat minor. sheet music & accompaniments link :
Show More...
An arrangement of Ivor Gurney’s song Sleep for soprano saxophone and piano in the sounding key of B flat minor. sheet music & accompaniments link :
Sleep comes from Gurney’s collection of 5 Elizabethan Songs composed in 1912 and published in 1920.
It is a beautiful piece of music and whilst originating as a song, the melody is deserving of being played and heard arranged as an instrumental solo with piano accompaniment. It has been placed in the Songs Without Words and Music for Special Events Areas of Study. A soprano saxophone part is attached to the full score in the pdf download.
Gurney’s Sleep has challenges for the soloist as far as tuning and intonation are concerned.
This is a composer who had a wonderful musical ear only for it to be tormented and challenged by the noises of war. He was an individual who had the potential to be a great English composer and poet although circumstances led him to a more troubled and often desperate journey in life.
Sleep’s haunting beauty makes it the perfect piece for a remembrance or similar event. It is music that can set a mood and tone in just a few moments and as such is a concisely written work.
There are some reading challenges as far as the notation is concerned and despite being written in B flat minor the piano accompaniment is relatively straight forward once attention has been paid to the accidentals.
This movement is to be played in a slow tempo (52 eighth note) with a legato touch is the realisation speed.
Piano accompaniments are in place playing at 48,(16) 51,(17) 54 (18) and 57 (19) eighth note (quaver) beats to the minute. In preparing the accompaniment scores the music editor has adopted a dotted quarter note beat to the bar approach shown in brackets.
Ivor Gurney (1890 – 1947) was both poet and musician born in Gloucester and a contemporary of Herbert Howells and Ivor Novello whilst studying at Gloucester Cathedral. Gurney is often described as the poet of the Somme and Severn
He loved Gloucester and its countryside often walking with friends and somewhat oddly was fond of walking through the night which possibly added to the complexities of his personality.
He started composing from 1904 and studied at the Royal College of Music from 1911 and whilst his talent was recognisable, he demonstrated that he was not a particularly teachable student.
Whilst a person with an exuberant personality and a sense of fun and adventure Gurney was prone to bouts of depression. He had to take a break from his studies and it is from this time (1912) the song Sleep was composed.
Despite his poor eye sight he enlisted in June 1915 and in France experienced the severity of trench warfare. It was from these experiences he was encouraged to write poetry. His first collection of verse was published in October 1917 with the title Severn and Somme. Injured he returned to England but remained in poor mental health. Later gassed at the front he was discharged from the army in 1918 spending troubled times with family in a life pattern that became a series of highs and lows. He returned to his music studies worked on a farm but was declared insane in 1922 and placed first in Barnwood House, Gloucester and then later to the City of London Mental Hospital, Dartford Kent.
Gurney was troubled for much of his life with mental health issues spending many years in asylums where he in fact managed to write some of his best poetry
Gurney died of TB in 1937 but thanks to Gerald Finzi and other friends his music and poetry was collected together and archived. Much of his work was never published but his output was considerable. Close
Added: 12th September, 2025 10:09 AM |
Views : 1388
An uplifting arrangement for flute and piano of the Giga from Corelli’s Opus 5 Violin Sonata No.9.
In 12/8 time the piece does need to be played wi Show More...
An uplifting arrangement for flute and piano of the Giga from Corelli’s Opus 5 Violin Sonata No.9.
In 12/8 time the piece does need to be played with energy and a suggested tempo of 104 dotted quarter notes (crotchet) beats to the minute is suggested and has been used in the realisation. Repeats are indicated in the score but have not been used in the playback score.
Accompaniments are in place featuring the piano giving an opportunity to flautists to practice in an ensemble context. They playback at 96, 100, 104, 108 & 112 bpm. (dotted quarter note (crotchet) beats to the minute)
Score detail has been omitted in the sheet music score which is a feature of most baroque music scores. Playing the A major scale and arpeggio would be good preparation for playing this score.
The arrangement very much keeps to the composer’s intention in terms of the melodic and bass writing. There are some beautiful shapes to play and there is a considerable amount of simply wonderful sequential writing. Ornaments have been written out simply to add clarity to the score.
The piano accompaniment combines chords and figuration with the bass line
The chords generally change every beat of the bar - describing what is referred to as the harmonic rhythm and this is a fairly consistent in the movement
Composers in Corelli's time provided a melody and bass line with what was termed a figured bass notated below the bass clef. The figured bass was a series of small numbers and accidental signs which indicated to the keyboard player usually a harpsichordist in sonata da camera (chamber sonata) the chords that were needed to accompany the written out melody and bass. This part was referred to as the continuo.
What the music editor particularly likes about this movement is its contemporary appeal and its suitability to be played by many different combinations of instruments. As a performance piece it has clear intention, communication and ap[peal.
Corelli 1653 – 1713 was a Rome based composer and violinist identified with the middle baroque period in music history. Corelli did not publish a great amount of music but he was meticulous in his compositional approach. The twelve violin sonatas in the Opus 5 collection were published in 1700. Close
Added: 26th August, 2025 09:08 AM |
Views : 1972
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for flute & piano. The flautist plays the highest voice in the arrangement whilst the accompanying pi Show More...
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for flute & piano. The flautist plays the highest voice in the arrangement whilst the accompanying piano part sounds voices 2 & 3.
The realisation playback at 60 dotted quarter note or crotchet beats to the minute.
In this version ornaments have been omitted.
Playing the relevant minor scale in all its forms natural, harmonic and melodic would be excellent preparation for playing this sinfonia. Find scales in the free scores drop down menu on the website home page.
The voice leading in this sinfonia is not altogether straightforward and players will need to pay attention to the accidentals in the score possibly adding reminders if required. Conflicting accidentals often appear in different voices in the same bar.
A sinfonia that features arpeggios and scale runs with the rhythmic shapes in the lines having a strong repetitive element. The note values given in Bach’s Sinfonias often give an indication of intended articulations that are intended. Players should be aiming for a singing legato in their playing.
The movement needs to be played, in the first instance, with an awareness of the patterns of 3 in the 12/8 time signature (4x3 to the bar).
Accompaniments are in place playing at 56, 58, 60, 62 & 64 dotted quarter note (crotchet) beats per minute (bpm). They feature the piano sounding voices 2 & 3 of the arrangement
enabling the flautist to enjoy ensemble music as part of routine practice. There is a one bar click track sounding on the woodblock as an intro on the mp3 tracks.
It is important to keep to the written note durations. There are also some ambiguities in the voicing in the score that reference that the sinfonias were composed for an instrument with more than one keyboard – the harpsichord.
Rests have been indicated in the voices as they are in the keyboard version of the works
Some of the rhythmic notation particularly with regards to the use of rests is ambiguous. Logic and rules do not universally apply. What tends to be in place is what is good for the eye.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills and good intonation in an ensemble playing context.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with Bach’s contrapuntal writing namely: repetition, inversion, imitation, augmentation, diminution. In these works the closely related keys of the dominant, sub- dominant, relative minor are explored
The movement should not be played too quickly. The music editor’s advice is that players need to be clear in their intention as far as the articulation of the lines and the dynamics. Whilst a movement that needs to be played with control there also needs to be a lightness of intention in the playing approach.
PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close
Added: 29th June, 2025 17:06 PM |
Views : 1588
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for clarinet in Bb & piano. The clarinettist plays the middle voice in the arrangement whilst the acc Show More...
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for clarinet in Bb & piano. The clarinettist plays the middle voice in the arrangement whilst the accompanying piano part sounds voices 1 & 3.
The realisation playback at 60 dotted quarter note or crotchet beats to the minute.
In this version ornaments have been omitted.
Playing the relevant minor scale in all its forms natural, harmonic and melodic would be excellent preparation for playing this sinfonia. Find scales in the free scores drop down menu on the website home page.
The voice leading in this sinfonia is not altogether straightforward and players will need to pay attention to the accidentals in the score possibly adding reminders if required. Conflicting accidentals often appear in different voices in the same bar.
A sinfonia that features arpeggios and scale runs with the rhythmic shapes in the lines having a strong repetitive element. The note values given in Bach’s Sinfonias often give an indication of intended articulations that are intended. Players should be aiming for a singing legato in their playing.
The movement needs to be played, in the first instance, with an awareness of the patterns of 3 in the 12/8 time signature (4x3 to the bar).
Accompaniments are in place playing at 56, 58, 60, 62 & 64 dotted quarter note (crotchet) beats per minute (bpm). They feature the piano sounding voices 1 & 3 of the arrangementenabling the electric guitar 1 player to enjoy ensemble music as part of routine practice. There is a one bar click track sounding on the woodblock as an intro on the mp3 tracks.
It is important to keep to the written note durations. There are also some ambiguities in the voicing in the score that reference that the sinfonias were composed for an instrument with more than one keyboard – the harpsichord.
Rests have been indicated in the voices as they are in the keyboard version of the works
Some of the rhythmic notation particularly with regards to the use of rests is ambiguous. Logic and rules do not universally apply. What tends to be in place is what is good for the eye.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills and good intonation in an ensemble playing context.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with Bach’s contrapuntal writing namely: repetition, inversion, imitation, augmentation, diminution. In these works the closely related keys of the dominant, sub- dominant, relative minor are explored
The movement should not be played too quickly. The music editor’s advice is that players need to be clear in their intention as far as the articulation of the lines and the dynamics. Whilst a movement that needs to be played with control there also needs to be a lightness of intention in the playing approach.
PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close
Added: 29th June, 2025 07:06 AM |
Views : 1683
This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable m Show More...
This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable melody. This is a genuine performance piece to be enjoyed by both instrumentalists and audiences involved. It is very evident that Jacques Offenbach had a real gift and sense of melody and fun in music. Not necessarily favoured by the music critics of the time nevertheless much of his music has managed to remain in the repertoire. Nietzsche & Zola also commented on his operettas for those who want to discover more about the ambivalence of his status.
Clarinettists will need to pay attention to the range of articulations and dynamics needed in a performance.
Repeat signs are in place in the score and pianists will no doubt make use of the sustaining pedal although its use is not indicated in the sheet music score.
The realisation plays back at 120 quarter note (crotchet) beats in the introductory first section and 132 quarter (crotchet) note beats in the second. A clarinet in A part is appended to the full score in the pdf download. Piano accompaniments are in place enabling clarinettists to enjoy an ensemble experience as part of practice routines. Repeats are in place.
As unmistakenly music intended for dancing there is a regular phrase structure in the second section and repetition is a strong feature of the composing process. There is an opening 23 bar section marked Allegro succeeded by a faster section which has an A B C A A + Coda structure with a 2 bar link between sections B & C.
“Le Galop” is often referred to as the “Can-Can” and was first performed in 1858 causing a bit of a stir because of its risqué nature though more in the visual rather than musical sense. Le Galop is from Act 2 of Offenbach’s operetta “Orpheus in the Underworld.” The can-can dance become associated with the Parisian cabarets of the Moulin Rouge and Folies Bergère. The easily remembered tune became associated with the high kicking female can-can dancers of the day.
Jacques Offenbach (1819 – 1880) whilst German born is considered to be a French composer known for the lighter side of opera referred to as operetta. Many of his works are still staged and he was an important influence on later composers of the genre. In his early days he earned his living as a cellist & conductor before producing his first full length operetta “Orpheus in the Underworld” in 1858. His final work “The Tales of Hoffmann’ was incomplete at the time of his death. Close
Added: 23rd April, 2025 19:04 PM |
Views : 1731
This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable m Show More...
This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable melody. This is a genuine performance piece to be enjoyed by both instrumentalists and audiences involved. It is very evident that Jacques Offenbach had a real gift and sense of melody and fun in music. Not necessarily favoured by the music critics of the time nevertheless much of his music has managed to remain in the repertoire. Nietzsche & Zola also commented on his operettas for those who want to discover more about the ambivalence of his status.
Flautists will need to pay attention to the range of articulations and dynamics needed in a performance.
Repeat signs are in place in the score and pianists will no doubt make use of the sustaining pedal although its use is not indicated in the sheet music score.
The realisation plays back at 120 quarter note (crotchet) beats in the introductory first section and 132 quarter (crotchet) note beats in the second. A flute part is appended to the full score in the pdf download. Piano accompaniments are in place enabling flautists to enjoy an ensemble experience as part of practice routines. Repeats are in place
As unmistakenly music intended for dancing there is a regular phrase structure in the second section and repetition is a strong feature of the composing process. There is an opening 23 bar section marked Allegro succeeded by a faster section which has an A B C A A + Coda structure with a 2 bar link between sections B & C.
“Le Galop” is often referred to as the “Can-Can” and was first performed in 1858 causing a bit of a stir because of its risqué nature though more in the visual rather than musical sense. Le Galop is from Act 2 of Offenbach’s operetta “Orpheus in the Underworld.” The can-can dance become associated with the Parisian cabarets of the Moulin Rouge and Folies Bergère. The easily remembered tune became associated with the high kicking female can-can dancers of the day.
Jacques Offenbach (1819 – 1880) whilst German born is considered to be a French composer known for the lighter side of opera referred to as operetta. Many of his works are still staged and he was an important influence on later composers of the genre. In his early days he earned his living as a cellist & conductor before producing his first full length operetta “Orpheus in the Underworld” in 1858. His final work “The Tales of Hoffmann’ was incomplete at the time of his death". Close
Added: 22nd April, 2025 11:04 AM |
Views : 1956
Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for trombone with piano accompaniment. One of the most familiar piece Show More...
Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for trombone with piano accompaniment. One of the most familiar pieces of the Spanish repertoire.
The PlentyMusic sheet music video & realisation plays back at a tempo of 112 quarter note beats per minute and the tempo in the arrangement is constant.
Piano accompaniments are in place playing at 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute.
There are many excellent arrangements of this music available from the PlentyMusic sheet music library for many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using these professional resources.
The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. The small decorative / ornamental notes do not sound in the realisation. The solo melody doesn’t appear until bar 18 so the build up to this moment is intense particularly with the long crescendo.
As there are no percussion in the scoring the arranger has omitted the tremolos from 73 – 78 doubling the clarinet melody with the piano accompaniment.
Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the Spanish idiom and style.
The second section has an appealing syncopated melody with some changes the musical texture.
The solo line played needs to be played with confidence and accuracy. It is also an excellent test as an ensemble piece requiring good communication between the soloist & accompanist. The solo part is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach.
The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing.
Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound.
This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed!
A great movement for both the player and the listener for its dramatic and musical qualities. The composition it dates from 1923 and was recorded as early as 1926.
Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone)
The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism.
The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. Close
Added: 9th March, 2025 18:03 PM |
Views : 2314
Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for clarinet in Bb with piano accompaniment. One of the most familiar Show More...
Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for clarinet in Bb with piano accompaniment. One of the most familiar pieces of the Spanish repertoire.
The realisation plays back at a tempo of 116 quarter note beats per minute and the tempo in the arrangement is constant.
Piano accompaniments are in place playing at 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute.
The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. The small decorative / ornamental notes do not sound in the realisation. The solo melody doesn’t appear until bar 18 so the build up to this moment is intense particularly with the long crescendo.
As there are no percussion in the scoring the arranger has omitted the tremolos from 73 – 78 doubling the clarinet melody with the piano accompaniment.
Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the Spanish idiom and style.
A work in two sections in different keys The second section has an appealing syncopated melody.
The solo line played by the clarinet needs to be played with confidence and accuracy. It is also an excellent test as an ensemble piece requiring good communication between the soloist & accompanist. The solo part is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach.
The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing.
Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound.
This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed!
A great movement for both the player and the listener for its dramatic and musical qualities. The composition it dates from 1923 and was recorded as early as 1926.
There are many excellent arrangements of this music available for many instrument combinations.
Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone)
The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism.
The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. Close
Added: 4th March, 2025 14:03 PM |
Views : 1886
A recent addition to the PlentyMusic sheet music library is Tchaikovsky’s June arr.clarinet in Bb & piano. Improve music practice strategies & playi Show More...
A recent addition to the PlentyMusic sheet music library is Tchaikovsky’s June arr.clarinet in Bb & piano. Improve music practice strategies & playing routines by using PlentyMusic mp3 piano accompaniments. A clarinet in Bb part is appended to the full score in the pdf download.
June from Tchaikovsky’s Seasons Opus 37 No.6 dates from 1891 is one of the composer’s most popular pieces. Described as a barcarolle it was intended to be performed in the 19th century drawing room or salon.
Piano accompaniments are in place playing at a range of tempi enabling clarinettists to enjoy ensemble playing as part of their practice routines. They play at 80, 82,84,86 & 88 quarter note (crotchet) beats to the minute. If additional accompaniments are rneeded please advise the PlentyMusic office with an indication of the tempi that are required.
There are many arrangements of Tchaikovsky’s June with this arrangement keeping to the composer’s writing as much as practically possible. The only element in the music editors view that possibly could be explored is the octave ranges played by the instrumental soloist. In the piano accompaniment the sharing of the notes between the hands has been reviewed.
Tchaikovsky is a master of voicing although in the piano accompaniments, the music editor, has added the occasional third to complete full voicing of chords. Arpeggiated chords, often indicated in early editions, have lesser relevance in modern playing although managing stretches when playing music always remains a relevant cause as far as developing playing technique.
The barcarolle as a composition has its origins as a folk song sung by Venetian gondoliers. In art music as a descriptive piece the music is often intended to imitate the sound of the gondoliers strokes and the rippling sounds of the water. This particularly applies to the closing section of Tchaikovsky’s June from bar 83 – 99 where the piano chords are arpeggiated.
There is much score detail in the source scores available which very much illustrates how well music engraving and printing developed in the 19th century.
The tempo indication is Andante cantabile whilst the realisation playing back at 80 quarter note or crotchets beats per minute in the first section from bars 1 - 31.
Tempo rubato, gradually speeding ups and slowing down, within the context of playing a phrase is relevant when performing this music. Musicians will need to research this playing approach in both their playing and listening to understand fully its implication as part of 19th century performance practice.
The music editor has indicated arpeggiated chords to be played only when it is appropriate reflecting current performance practice
In the first section bars 1-31 the melody and accompaniment need to be played with a legato playing touch.
A melancholy movement in character in the opening section there are nevertheless a variety of moods and tempo expressed during a performance of the whole movement.
Some of the music is very simple although the middle section bars 32-51 in the tonic major key is more challenging technically with two changes of tempo and writing in which the texture is more full and complex.
In a performance instrumentalists should be looking to explore the full tonal and dynamic range of their instruments.
Much of Tchaikovsky’s music can be arranged for other instrumental groups to perform and June offers many options for a solo instrument with piano accompaniment and both chamber and orchestral groups.
Tchaikovsky travelled widely and would have been familiar with the Italian folk song barcorola describing a movement associated with boatmen and gondoliers with a characteristic rhythmic pattern imitating the rhythm of rowing.
The context for much of Tchaikovsky’s salon and chamber music which was largely commissioned & sponsored, was to compose ternary form music (ABA) using a popular dance rhythmic template of the time which included waltz, barcarolle, polka, mazurka amongst many other forms of the day familiar to the listening public.
The middle part in two sections, one in quadruple time followed by an even faster one in triple time faster in tempo and dance like in character requires a lightness of touch when played.
This middle section closes with a series of diminished seventh chords moving up the keyboard. After a brief two bar link the music of the A section returns as a varied repeat with the addition of some counter melodies and points of imitation largely sounded in the tenor line.
There is considerable detail in the music score typical of printed music published in the late romantic period
One of Tchaikovsky’s great skills as a composer was to be able to write music for all levels of performance expertise from beginner to improver, intermediate, advanced and virtuoso levels.
The closing section or coda from bars 84 – 99 does reference and suggest imagery that relates to the composer’s reference to barcarolle in the music’s title Close
Added: 27th January, 2025 17:01 PM |
Views : 2519
June from Tchaikovsky’s Seasons Opus 37 No.6 dates from 1891 & is one of the composer’s most popular pieces described as a barcarolle. Intended or Show More...
June from Tchaikovsky’s Seasons Opus 37 No.6 dates from 1891 & is one of the composer’s most popular pieces described as a barcarolle. Intended originally for performance in the 19th century salon or drawing room this is an arrangement for flute & piano.
Accompaniments are in place playing at a range of tempi enabling flautists to enjoy ensemble playing as part of their practice routines. They play at 80, 82,84,86 & 88 quarter note (crotchet) beats to the minute. If additional accompaniments are required please advise the PlentyMusic office.
There are many arrangements of Tchaikovsky’s June with this arrangement keeping to the composer’s writing as much as practically possible. The only element in the music editors view that should be explored is the octave ranges played by the instrumental soloist. In the piano accompaniment the sharing of the notes between the hands has been reviewed.
Tchaikovsky is a master of voicing although in the piano accompaniments, the music editor, has added the occasional third to complete full voicing of chords. Arpeggiated chords, often indicated in early editions, have lesser relevance in modern playing although managing stretches when playing music always remains a relevant cause as far as developing playing technique.
The barcarolle as a composition has its origins as a folk song sung by Venetian gondoliers. In art music as a descriptive piece the music is often intended to imitate the sound of the gondoliers strokes and the rippling sounds of the water. This particularly applies to the closing section of Tchaikovsky’s June from bar 83 – 99 where the piano chords are arpeggiated .
There is much score detail in the source scores available which very much illustrates how well music engraving and printing developed in the 19th century.
The tempo indication is Andante cantabile whilst the realisation playing back at 80 quarter note or crotchets beats per minute in the first section from bars 1 -31
Tempo rubato, gradually speeding ups and slowing down, within the context of playing a phrase is relevant when performing this music. Musicians will need to research this playing approach in both their playing and listening to understand fully its implication as part of 19th century performance practice.
The music editor has indicated arpeggiated chords to be played only when it is appropriate reflecting current performance practice
In the first section bars 1-31 the melody and accompaniment need to be played with a legato playing touch.
A melancholy movement in character in the opening section there are nevertheless a variety of moods and tempo expressed during a performance of the whole movement.
Some of the music is very simple although the middle section bars 32-51 in the tonic major key is more challenging technically with two changes of tempo and writing in which the texture is more full and complex.
In a performance instrumentalists should be looking to explore the full tonal and dynamic range of their instruments.
Much of Tchaikovsky’s music can be arranged for other instrumental groups to perform and June offers many options for a solo instrument with piano accompaniment and both chamber and orchestral groups.
Use of the sustaining pedal is indicated in the score. The use of the sustaining pedal is dependent on so many factors in a performance particularly related to the quality of the piano and the acoustic of the performance area. The music editor’s view is a preference to under use rather than over use the sustaining pedal. Harmonies essentially should never be conflicted or smudged. Modern pianos are of course much more resonant than those of the past when being generous with the right foot could perhaps be tolerated. Using the sustaining pedal is quite a study in itself with quarter, half, three quarter and full pedalling
Tchaikovsky travelled widely and would have been familiar with the Italian folk song barcorola describing a movement associated with boatmen and gondoliers with a characteristic rhythmic pattern imitating the rhythm of rowing.
The context for much of Tchaikovsky’s salon and chamber music which was largely commissioned, was to compose ternary form music (ABA) using a popular dance rhythmic template of the time which included waltz, barcarolle, polka, mazurka amongst others.
The middle part in two sections, one in quadruple time followed by an even faster one in triple time and dance like in character requiring a lightness of touch in the playing approach.
This middle section closes with a series of diminished seventh chords moving up the keyboard. After a brief two bar link the music of the A section returns as a varied repeat with the addition of some counter melodies and points of imitation largely sounded in the tenor line.
There is considerable detail in the music score typical of printed music published in the late romantic period
One of Tchaikovsky’s great skills as a composer was to be able to write music for all levels of performance expertise from beginner to improver, intermediate, advanced and virtuoso levels.
The closing section or coda from bars 84 – 99 does reference and suggest imagery that relates to the composers reference to barcarolle in the music’s title. Close
Added: 26th January, 2025 16:01 PM |
Views : 2177
June from Tchaikovsky’s Seasons Opus 37 No.6 dates from 1891 and is arranged for cello & piano. It is one of the composer’s most popular pieces. A Show More...
June from Tchaikovsky’s Seasons Opus 37 No.6 dates from 1891 and is arranged for cello & piano. It is one of the composer’s most popular pieces. An example of music intended for the salon it is described as a barcarolle.
Piano accompaniments are in place playing at a range of tempi enabling cellists to enjoy ensemble playing as part of their practice routines. They play at 80, 82, 84, 86 & 88 quarter nore (crotchet) beats to the minute. Should additional accompaniments be required please contact the PlentyMusic office with a specfication tempo wise.
There are many arrangements of Tchaikovsky’s June with this arrangement keeping to the composer’s writing as much as practically possible. The only element in the music editors view that should be explored is the octave ranges played by the instrumental soloist. In the piano accompaniment the sharing of the notes between the hands has been reviewed.
Tchaikovsky is a master of voicing although in the piano accompaniments, the music editor, has added the occasional third to complete full voicing of chords. Arpeggiated chords, often indicated in early editions, have lesser relevance in modern playing although managing stretches when playing music always remains a relevant cause as far as developing playing technique.
The barcarolle as a composition has its origins as a folk song sung by Venetian gondoliers. In art music as a descriptive piece the music is often intended to imitate the sound of the gondoliers strokes and the rippling sounds of the water. This particularly applies to the closing section of Tchaikovsky’s June from bar 83 – 99 where the piano chords are arpeggiated .
There is much score detail in the source scores available which very much illustrates how well music engraving and printing developed in the 19th century.
The tempo indication is Andante cantabile whilst the realisation playing back at 80 quarter note or crotchets beats per minute in the first section from bars 1 -31
Tempo rubato, gradually speeding ups and slowing down, within the context of playing a phrase is relevant when performing this music. Musicians will need to research this playing approach in both their playing and listening to understand fully its implication as part of 19th century performance practice.
The music editor has indicated arpeggiated chords to be played only when it is appropriate reflecting current performance practice
In the first section bars 1-31 the melody and accompaniment need to be played with a legato playing touch.
A melancholy movement in character in the opening section there are nevertheless a variety of moods and tempo expressed during a performance of the whole movement.
Some of the music is very simple although the middle section bars 32-51 in the tonic major key is more challenging technically with two changes of tempo and writing in which the texture is more full and complex.
In a performance instrumentalists should be looking to explore the full tonal and dynamic range of the instrument. Piano touch and articulations are elements that can be explored.
Much of Tchaikovsky’s music can be arranged for other instrumental groups to perform and June offers many options for a solo instrument with piano accompaniment and both chamber and orchestral groups.
Use of the sustaining pedal is indicated in the score. The use of the sustaining pedal is dependent on so many factors in a performance particularly related to the quality of the piano and the acoustic of the performance area. The music editor’s view is a preference to under use rather than over use the sustaining pedal. Harmonies essentially should never be conflicted or smudged. Modern pianos are of course much more resonant than those of the past when being generous with the right foot could perhaps be tolerated. Using the sustaining pedal is quite a study in itself with quarter, half, three quarter and full pedalling
Tchaikovsky travelled widely and would have been familiar with the Italian folk song barcorola describing a movement associated with boatmen and gondoliers with a characteristic rhythmic pattern imitating the rhythm of rowing.
The context for much of Tchaikovsky’s salon and chamber music which was largely commissioned, was to compose ternary form music (ABA) using a popular dance rhythmic template of the time which included waltz, barcarolle, polka, mazurka amongst others.
The middle part in two sections, one in quadruple time followed by an even faster one in triple time are faster in tempo faster in tempo and dance like in character requiring a lightness playing.
This middle section closes with a series of diminished seventh chords moving up the keyboard. After a brief two bar link the music of the A section returns as a varied repeat with the addition of some counter melodies and points of imitation largely sounded in the tenor line.
There is considerable detail in the music score typical of printed music published in the late romantic period
One of Tchaikovsky’s great skills as a composer was to be able to write music for all levels of performance expertise from beginner to improver, intermediate, advanced and virtuoso levels.
The closing section or coda from bars 84 – 99 does reference and suggest imagery that relates to the composer’s reference to barcarolle in the music’s title. The cello is required to play pizzicato in the closing bars as indicated in the music score. Close
Added: 23rd January, 2025 11:01 AM |
Views : 2565
Rachmaninov’s Vocalise arranged for trombone and piano in the key of E minor.
Sergie Rachmaninov was a Russian born composer, pianist and conducto Show More...
Rachmaninov’s Vocalise arranged for trombone and piano in the key of E minor.
Sergie Rachmaninov was a Russian born composer, pianist and conductor who like many of his generation left his home country to live abroad because of the political turmoil.
The playback tempo of the realisation is 52 quarter note (crotchet) beats per minute although it is an eighth note (quaver) pulse that predominates. The playback score has the repeats in place but the trills indicated in the score do not sound.
Accompaniments are available both with and without repeats. They play at 50, 52, 54, 56, 58 & 60 quarter note (crotchet) beats to the minute. The score with repeats is 70 bars and without 39 bars in length. For those requiring additional accompaniments please contact the PlentyMusic team with an indication of the tempo that is required. Use the reference tempo map.
As a challenging music score to read with many accidentals careful reading of the notes is essential. Listening to performances of the work played by different instrument combinations would be a sensible approach to for instrumentalists to become familiar with the sound of the score. Fortunately streaming media provides many excellent opportunities for this. Understand that much can also be learn from performances that are possibly far from perfect.
The pianist will need to use the sustaining pedal although it’s use is not indicated in the sheet music score. Both the soloist and accompanying piano player will need to demonstrate very good playing technique to achieve a legato in a performance. The challenge when playing this score is to make it sound easy to play. This is an excellent piece for all those playing the solo part to improve their intonation. The voicing of the lines is a composing element that needs to be explored particularly to understand how dissonances are created and managed. Rachmaninov’s musical textures are frequently complex. What needs to be explored performing this music is the beauty of sound and its lyricism rather than any dramatic element. The last note needs to sound as long as possible but is notated as in the vocal score where the length of the note no doubt depended on the singers breath control. Instrumentalists will observe that that are some melodic alternatives playing the melody indicated as small notes although they are not used in realisation.
The music is composed in two sections with each section intended to be repeated. There is an 8 bar closing section or coda which references the music of the opening A section.
The falling sixteenth note (semi quaver) motif needs to be given some prominence in a performance especially when it is imitated.
This particular movement from the music setting point of view provides some challenges evident from the many scores that contain inaccuracies and copying errors. The original key of the movement was C# minor.
Rachmaninov & Tchaikovsly both composed music melancholy in character. Vocalise is a work that can be played by many different instrument combinations although it was originally written for a soprano voice. Rachmaninov’s harmonic language identifies with the late romantics and stylistically his music is always distinctive and readily identifiable a trait unique to great composers. Rachmaninov was one of the great pianists of his day often including Tchaikovsky’s piano music in his recitals. Be aware & familiar with the several different spellings of both composer’s names.
His music possesses a great sense of melody, harmonic colour and supreme understanding of piano writing particular with complex linear textures.
The dedicatee of Rachmaninov’s Vocalise was Antonia Nezdanova, a Russian soprano and she gave the first performance of the work in an arrangement for soprano & orchestra. The intention in this particular version of the work was for the melody line to sung or vocalised to a vowel sound chosen by the singer.
Whilst Rachmaninov’s dates suggest that he is a 20th century composer he should be regarded as belonging to the late romantic era. In many ways his music references the past rather than that of his contemporaries.
Sadly, Because he emigrated to the USA his working life in his newly adopted country became focused on performing rather than composing.
Sergie Rachmaninov was a great pianist and composer. He was a generally austere, severe and remote character except to those in the Russian emigré community in the US and other familiar & close people such as his personal piano tuner. He had large hands and could manage big stretches on the piano with ease. He left Russia to live in Germany before moving to New York in 1918. Whilst living in USA he lived and worked mostly as a concert pianist and recitalist and consequently his contribution to the repertoire was sadly not as great as it perhaps could have been. Like Tchaikovsky Rachmaninov often struggled with his mental health particularly if a composition was poorly received after a first performance. He was influenced by the music of Tchaikovsky and was a composer of late tonal romantic music often with chromatic harmony. Close
Added: 20th January, 2025 11:01 AM |
Views : 2890
Rachmaninov’s Vocalise arranged for cello and piano in the key of E minor. Sergie Rachmaninov was a Russian born composer, pianist and conductor who Show More...
Rachmaninov’s Vocalise arranged for cello and piano in the key of E minor. Sergie Rachmaninov was a Russian born composer, pianist and conductor who like many of his generation left his home country to live abroad because of the political turmoil.
The playback tempo of the realisation is 56 quarter note (crotchet) beats per minute although it is an eighth note (quaver) pulse that predominates. The playback score has the repeats in place but the trills indicated in the score do not sound.
Accompaniments are available both with and without repeats. They play at 52, 54, 56, 58 & 60 quarter note (crotchet) beats to the minute. The score with repeats is 70 bars and without 39 bars in length. For those requiring additional accompaniments please contact the PlentyMusic team with an indication of the tempo that is required.
As a challenging music score to read with many accidentals careful reading of the notes is essential. Listening to performances of the work played by different instrument combinations would be a sensible approach to for instrumentalists to become familiar with the sound of the score. Fortunately, streaming media provides many excellent opportunities for this. Understand that much can also be learn from performances that are possibly far from perfect.
The pianist will need to use the sustaining pedal although it’s use is not indicated in the sheet music score. Both the soloist and accompanying piano player will need to demonstrate very good playing technique to achieve a legato in a performance. The challenge when playing this score is to make it sound easy to play. This is an excellent piece for all those playing the solo part to improve their intonation. The voicing of the lines is a composing element that needs to be explored particularly to understand how dissonances are created and managed. Rachmaninov’s musical textures are frequently complex. What needs to be explored performing this music is the beauty of sound and its lyricism rather than any dramatic element. The last note needs to sound as long as possible but is notated as in the vocal score where the length of the note no doubt depended on the singers breath control. Instrumentalists will observe that that are some melodic alternatives playing the melody indicated as small notes although they are not used in realisation.
The music is composed in two sections with each section intended to be repeated. There is an 8 bar closing section or coda which references the music of the opening A section.
The falling sixteenth note (semi quaver) motif needs to be given some prominence in a performance especially when it is imitated.
This particular movement from the music setting point of view provides some challenges evident from the many scores that contain inaccuracies and copying errors. The original key of the movement was C# minor.
Rachmaninov & Tchaikovsly both composed music melancholy in character. Vocalise is a work that can be played by many different instrument combinations although it was originally written for a soprano voice. Rachmaninov’s harmonic language identifies with the late romantics and stylistically his music is always distinctive and readily identifiable a trait unique to great composers. Rachmaninov was one of the great pianists of his day often including Tchaikovsky’s piano music in his recitals. Be aware & familiar with the several different spellings of both composer’s names.
His music possesses a great sense of melody, harmonic colour and supreme understanding of piano writing particular with complex linear textures.
The dedicatee of Rachmaninov’s Vocalise was Antonia Nezdanova, a Russian soprano and she gave the first performance of the work in an arrangement for soprano & orchestra. The intention in this particular version of the work was for the melody line to sung or vocalised to a vowel sound chosen by the singer.
Whilst Rachmaninov’s dates suggest that he is a 20th century composer he should be regarded as belonging to the late romantic era. In many ways his music references the past rather than that of his contemporaries.
Sadly, Because he emigrated to the USA his working life in his newly adopted country became focused on performing rather than composing.
Sergie Rachmaninov was a great pianist and composer. He was a generally austere, severe and remote character except to those in the Russian emigré community in the US and other familiar & close people such as his personal piano tuner. He had large hands and could manage big stretches on the piano with ease. He left Russia to live in Germany before moving to New York in 1918. Whilst living in USA he lived and worked mostly as a concert pianist and recitalist and consequently his contribution to the repertoire was sadly not as great as it perhaps could have been. Like Tchaikovsky Rachmaninov often struggled with his mental health particularly if a composition was poorly received after a first performance. He was influenced by the music of Tchaikovsky and was a composer of late tonal romantic music often with chromatic harmony. Close
Added: 16th January, 2025 08:01 AM |
Views : 2426
Rachmaninov’s Vocalise arranged for flute and piano in the key of E minor.
The playback tempo of the realisation is 56 quarter note (crotchet) beats Show More...
Rachmaninov’s Vocalise arranged for flute and piano in the key of E minor.
The playback tempo of the realisation is 56 quarter note (crotchet) beats per minute although it is an eighth note (quaver) pulse that predominates. The playback score has the repeats in place but the trills indicated in the score do not sound. Accompaniments are available both with and without repeats. They play at 52, 54, 56, 58 & 60 quarter note (crotchet) beats to the minute. The score with repeats is 70 bars and without 39 bars in length. As a challenging music score to read with many accidentals careful reading of the notes is essential. Listening to performances of the work played by different instrument combinations would be a sensible approach to for instrumentalists to become familiar with the sound of the score. Fortunately streaming media provides many excellent opportunities for this. Understand that much can also be learn from performances that are possibly far from perfect.
The pianist will need to use the sustaining pedal although it’s use is not indicated in the sheet music score. Both the soloist and accompanying piano player will need to demonstrate very good playing technique to achieve a legato in a performance. The challenge when playing this score is to make it sound easy to play. This is an excellent piece for all those playing the solo part to improve their intonation. The voicing of the lines is a composing element that needs to be explored particularly to understand how dissonances are created and managed. Rachmaninov’s musical textures are frequently complex. What needs to be explored performing this music is the beauty of sound and its lyricism rather than any dramatic element. The last note for flute is ambiguously notated and depending on the instrumentalist’s breath control can be as long as possible. The music is composed in two sections with each section intended to be repeated. There is an 8 bar closing section or coda which references the music of the opening A section. The falling sixteenth note (semi quaver) motif needs to be given some prominence in a performance especially when it is imitated. This particular movement from the music setting point of view provides some challenges evident from the many scores that contain inaccuracies and copying errors. The original key of the movement was C# minor. Rachmaninov & Tchaikovsly both composed music melancholy in character. Vocalise is a work that can be played by many different instrument combinations although it was originally written for a soprano voice. Rachmaninov’s harmonic language identifies with the late romantics and stylistically his music is always distinctive and readily identifiable a trait unique to great composers. Rachmaninov was one of the great pianists of his day often including Tchaikovsky’s piano music in his recitals. Be aware & familiar with the several different spellings of both composer’s names. His music possesses a great sense of melody, harmonic colour and supreme understanding of piano writing particular with complex linear textures. The dedicatee of Rachmaninov’s Vocalise was Antonia Nezdanova, a Russian soprano and she gave the first performance of the work in an arrangement for soprano & orchestra. The intention in this particular version of the work was for the melody line to sung or vocalised to a vowel sound chosen by the singer. Whilst Rachmaninov’s dates suggest that he is a 20th century composer he should be regarded as belonging to the late romantic era. In many ways his music references the past rather than that of his contemporaries. Sadly, Because he emigrated to the USA his working life in his newly adopted country became focused on performing rather than composing. Sergie Rachmaninov was a great pianist and composer. He was a generally austere, severe and remote character except to those in the Russian emigré community in the US and other familiar & close people such as his personal piano tuner. He had large hands and could manage big stretches on the piano with ease. He left Russia to live in Germany before moving to New York in 1918. Whilst living in USA he lived and worked mostly as a concert pianist and recitalist and consequenly his contribution to the repertoire was sadly not as great as it perhaps could have been. Like Tchaikovsky Rachmaninov often struggled with his mental health particularly if a composition was poorly received after a first performance. He was influenced by the music of Tchaikovsky and was a composer of late tonal romantic music often with chromatic harmony. Close
Added: 13th January, 2025 08:01 AM |
Views : 2892
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
Added: 28th November, 2024 08:11 AM |
Views : 2204
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
Added: 24th November, 2024 21:11 PM |
Views : 2099
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
Added: 23rd November, 2024 12:11 PM |
Views : 2076
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
Added: 22nd November, 2024 12:11 PM |
Views : 2278
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
Added: 21st November, 2024 20:11 PM |
Views : 1967
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
Added: 16th November, 2024 18:11 PM |
Views : 2137
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
Added: 14th November, 2024 16:11 PM |
Views : 2739
Tchaikovsky’s Chant sans Paroles (Song without Words) Opus 2 No.3 arranged for violin & piano. The realisation plays back at 84 quarter note (crotc Show More...
Tchaikovsky’s Chant sans Paroles (Song without Words) Opus 2 No.3 arranged for violin & piano. The realisation plays back at 84 quarter note (crotchet) beats to the minute.
Piano accompaniments are in place playing at 72, 76, 80, 84 & 88 beats per minute. There is a two bar count in played on the wood blocks. A saxophone part is appended to the full score on the pdf download.
Pianists will need to make use of the sustaining pedal although its use has not been indicated in the sheet music score.
The sense of melody is always strong in this composer’s writing. Musicians need to explore the full tonal and dynamic range when playing this music
The small decorative notes are possibly best omitted in the early stages of learning the piece.
Late 19th century chromatic harmony is evident in the writing and the 8 bar phrase structure is consistent in this movement. The musical templates that tended to dominate Tchaikovsky’s composing life were the popular dance forms of his day – waltz, polka, mazurka, scherzo.
This is music intended for performance in the salon or drawing room.
This high intermediate arrangement keeps very much to the composers original score with just a few additional notes in the accompaniment to help the voicing of the chords.
Tchaikovsky is the master of mood in music from the composing view supreme in able to express both the saddest and happiest of moments in music. Close
Added: 10th November, 2024 17:11 PM |
Views : 1634
Tchaikovsky’s Chant sans Paroles (Song without Words) Opus 2 No.3 arranged for tenor saxophone & piano. The realisation plays back at 80 quarter no Show More...
Tchaikovsky’s Chant sans Paroles (Song without Words) Opus 2 No.3 arranged for tenor saxophone & piano. The realisation plays back at 80 quarter note (crotchet) beats to the minute.
Piano accompaniments are in place playing at 72, 76, 80, 84 & 88 beats per minute. There is a two bar count in played on the wood blocks. A saxophone part is appended to the full score on the pdf download.
Pianists will need to make use of the sustaining pedal although its use has not been indicated in the sheet music score.
The sense of melody is always strong in this composer’s writing. Musicians need to explore the full tonal and dynamic range when playing this music
The small decorative notes are possibly best omitted in the early stages of learning the piece.
Late 19th century chromatic harmony is evident in the writing and the 8 bar phrase structure is consistent in this movement. The musical templates that tended to dominate Tchaikovsky’s composing life were the popular dance forms of his day – waltz, polka, mazurka, scherzo.
This is music intended for performance in the salon or drawing room.
This high intermediate arrangement keeps very much to the composers original score with just a few additional notes in the accompaniment to help the voicing of the chords.
Tchaikovsky is the master of mood in music from the composing view supreme in able to express both the saddest and happiest of moments in music. Close
Added: 6th November, 2024 13:11 PM |
Views : 2122
Tchaikovsky’s Chant sans Paroles (Song without Words) Opus 2 No.3 arranged for cello & piano. The realisation plays back at 84 quarter note (crotche Show More...
Tchaikovsky’s Chant sans Paroles (Song without Words) Opus 2 No.3 arranged for cello & piano. The realisation plays back at 84 quarter note (crotchet) beats to the minute.
The bass clef has been used for the notation of the cello part.
For those who perform this music there are some opportunities to explore the octave in both the cello and piano parts particular in the section from bar 36 to
Piano accompaniments are in place playing at 76, 80, 84 & 88 beats per minute. There is a two bar count in played on the wood blocks. A cello part is appended to the full score on the pdf download.
Pianists will need to make use of the sustaining pedal although its use has not been indicated in the sheet music score.
The sense of melody is always strong in this composer’s writing. Musicians need to explore the full tonal and dynamic range when playing this music
The small decorative notes do not sound in the realisation and are possibly best omitted in the early stages of learning the piece.
Late 19th century chromatic harmony is evident in the writing and the 8 bar phrase structure is consistent in this movement. The musical templates that tended to dominate Tchaikovsky’s composing life were the popular dance forms of his day – waltz, polka, mazurka, scherzo.
This is music intended for performance in the salon or drawing room.
This intermediate arrangement keeps very much to the composers original score with just a few additional notes in the accompaniment to help the voicing of the chords.
Tchaikovsky is the master of mood in music from the composing view supreme in able to express both the saddest and happiest of moments in music. Close
Added: 2nd November, 2024 10:11 AM |
Views : 2613
One of Tchaikovsky’s most popular pieces composed in 1878 for piano and arranged for cello & with piano accompaniment in the original key of G minor Show More...
One of Tchaikovsky’s most popular pieces composed in 1878 for piano and arranged for cello & with piano accompaniment in the original key of G minor. It is a ternary form ABA movement in a reflective melancholy mood. The realisation plays back at 92 quarter note (crotchet) beats to the minute.
Piano accompaniments are in place playing at 84, 88, 92, 96,100 &104 beats per minute. There is a two bar count in played on the wood blocks. A cello part is appended to the full score on the pdf download.
It has a regular phrase structure and the melodic line needs to be played with a singing legato. Accompanying pianists need to make appropriate use of the sustaining pedal although it is not indicated in the sheet music download.
When performing the music be aware that tempo changes particularly at the end of phrases are appropriate. The music needs to be delivered with expression and a range of dynamics. Tchaikovsky tends to indicate a full range of dynamics in his writing.
There is a chromatic element in the harmonic writing particularly in the A section.
Playing the G minor scale in both the harmonic and melodic forms would be excellent preparation for playing this intermediate level work.
There are 12 piano pieces in the Opus 40 collection. They can be essentially be described as salon music which is music composed intended for home use in the 19th century drawing room possibly with a small audience in attendance. Close
Added: 22nd October, 2024 14:10 PM |
Views : 1720
One of Tchaikovsky’s most popular pieces composed in 1878 for piano and arranged for violin & with piano accompaniment in the original key of G mino Show More...
One of Tchaikovsky’s most popular pieces composed in 1878 for piano and arranged for violin & with piano accompaniment in the original key of G minor. It is a ternary form ABA movement in a reflective melancholy mood. The realisation plays back at 92 quarter note (crotchet) beats to the minute.
Piano accompaniments are in place playing at 84, 88, 92, 96,100 &104 beats per minute. There is a two bar count in played on the wood blocks. A violin part is appended to the full score on the pdf download.
It has a regular phrase structure and the melodic line needs to be played with a singing legato. Accompanying pianists need to make appropriate use of the sustaining pedal although it is not indicated in the sheet music download.
When performing the music be aware that tempo changes particularly at the end of phrases are appropriate. The music needs to be delivered with expression and a range of dynamics. Tchaikovsky tends to indicate a full range of dynamics in his writing.
There is a chromatic element in the harmonic writing particularly in the A section.
Playing the G minor scale in both the harmonic and melodic forms would be excellent preparation for playing this intermediate level work.
There are 12 piano pieces in the Opus 40 collection. They can be essentially be described as salon music which is music composed intended for home use in the 19th century drawing room possibly with a small audience in attendance. Close
Added: 22nd October, 2024 13:10 PM |
Views : 2620
Debussy’s Arabesque No. 1 arranged for advanced level trombone & piano sounding in the key of F. The music composed whilst Debussy was still in his Show More...
Debussy’s Arabesque No. 1 arranged for advanced level trombone & piano sounding in the key of F. The music composed whilst Debussy was still in his 20’s.
The first Arabesque has a tempo marking Andantino con moto whist the realisation for trombone & piano plays back at an initial 112 quarter note (crotchet) beats to the minute. The music has been transposed from the original key of E to F. There are some of octave transpositions in the arrangement keeping the trombone parts within an appropriate range. It is a three section work. A trombone part notated in the tenor clef is appended to the full music score.
Piano accompaniments are available playing at 100-88 -100 quarter note (crotchets) beats per minute, 104-092-104, 104-100-104, 108-100-108, 112-096-112 and 112-104-112 bpm with the tempo references referring to the music as a three section work.
Tempo considerations have great relevance in the performance of this music.
In terms of beauty of music lines this is a hard piece of music to beat which makes it an enthralling and challenging ensemble piece.
Some of the score detail is omitted in the video score and the use of 3 to indicated triplets are perhaps not consistently applied
Learning 3’s against 2’s as a cross rhythm (and 2’s against 3’s) are probably best learnt as clapping/tapping games in a group context.
Much of the writing in this movement references triadic chords played as arpeggios. The intervals of the thirds and tenth (compound third) feature strongly in the parallel motion It is a three section work with the reflective middle section referencing the key of the sub-dominant.
The triplet pattern is a strong feature of the movement. Instrumentalists new to playing cross rhythms need to practice playing triplet rhythms for a bar and then change it to eighth notes (quavers) so that they develop a clear sense of pulse in their playing.
This a movement where the tempo often ebbs and flows in what is referred to as Tempo Rubato. This is an important aspect of performance practice and something that is first associated with the music of Chopin.
Instrumentalists need to have a clear understanding of all the terms used in the score detail. 20th century music scores do generally have more graphics and terms in place to assist how the music is to be played and interpreted.
A quite stunning and impressionable piece in all senses of the word with a strong sense of melody that lends itself to being arranged for an ensemble such as a solo instrument with a piano accompaniment.
Debussy composed his two Arabesques between 1888 and 1891 whilst still in his 20’s. They were originally composed for piano. They are movements that challenge the established pathways of his late romantic contemporaries. They are often described as early impressionist pieces although Debussy himself didn’t like references of his music using the term.
Debussy has famously been described as the composer who opened the door to 20th century musical composition in the sense that his compositional approach was different to that of many of his contemporaries whose music was generally becoming increasingly dissonant. Debussy’s writing is more about exploring the beauty of sound without necessarily following the rules of harmonic writing that prevailed in the 19th century.
Debussy created a new approach to composition in which beauty of sound and line were paramount exploring connections between the visual arts, nature and the environment around him His music is frequently described as being evocative in that he describes in music what he sees, hears and observes from his experiences of life. He is a composer of visual music. Debussy also lived at a time when the world as such was coming to Europe with exhibitions and as a composer he was open and influenced by the many cultures as his music suggests.
If there are trombonists who would like additional accompaniments in place please advise the PlentyMusic office with a tempo template.
Whilst there are tempo changes in the PlentyMusic accompaniments rubato playing is not as such represented.
Arabesque is a term that refers to artistic decoration and line which are terms relevant to music. The art in respect to Arab culture is also extremely relevant as the term suggests having both historical and modern contexts. Spend time looking at Arabesque graphics. There are related aspects to line and position in ballet music so as a description of a piece of music the term Arabesque has several references and meaning. Close
Added: 7th October, 2024 13:10 PM |
Views : 2541
Debussy’s Arabesque No. 1 arranged for alto saxophone and piano sounding in the key of Ab. This is music composed whilst Debussy was still in his 20 Show More...
Debussy’s Arabesque No. 1 arranged for alto saxophone and piano sounding in the key of Ab. This is music composed whilst Debussy was still in his 20’s.
The first Arabesque has a tempo marking Andantino con moto whist the realisation for alto saxophone and piano plays back at an initial 112 quarter note (crotchet) beats to the minute. The music has been transposed from the original key of E toAb. It is a three section work. An alto saxophone part appropriately transposed is appended to the full music score.
Much of the writing in this movement references triadic chords played as arpeggios. The intervals of the thirds and tenth (compound third) feature strongly in the parallel motion It is a three section work with the reflective middle section referencing the key of the sub-dominant.
The triplet pattern is a strong feature of the movement. Instrumentalists new to playing cross rhythms need to practice playing triplet rhythms for a bar and then change it to eighth notes (quavers) so that they develop a clear sense of pulse in their playing.
This a movement where the tempo often ebbs and flows in what is referred to as Tempo Rubato. This is an important aspect of performance practice and something that is first associated with the music of Chopin.
Instrumentalists need to have a clear understanding of all the terms used in the score detail. 20th century music scores do generally have more graphics and terms in place to assist how the music is to be played and interpreted.
A quite stunning and impressionable piece in all senses of the word with a strong sense of melody that lends itself to being arranged for a solo instrument with an accompaniment.
Debussy composed his two Arabesques between 1888 and 1891 whilst still in his 20’s. They were originally composed for piano. They are movements that challenge the established pathways of his late romantic contemporaries. They are often described as early impressionist pieces although Debussy himself didn’t like references of his music using the term.
Debussy has famously been described as the composer who opened the door to 20th century musical composition in the sense that his compositional approach was different to that of many of his contemporaries whose music was generally becoming increasingly dissonant. Debussy’s writing is more about exploring the beauty of sound without necessarily following the rules of harmonic writing that prevailed in the 19th century.
Debussy created a new approach to composition in which beauty of sound and line were paramount exploring connections between the visual arts, nature and the environment around him His music is frequently described as being evocative in that he describes in music what he sees, hears and observes from his experiences of life. He is a composer of visual music. Debussy also lived at a time when the world as such was coming to Europe with exhibitions and as a composer he was open and influenced by the many cultures as his music catalogue suggests.
Piano accompaniments are in place to encourage ensemble practice playing at 100-88 -100 quarter note (crotchets) beats per minute and also 104-092-104, 104-100-104, 108-100-108, 112-096-112 and 112-104-112 bpm with the tempo referring to the music as a three section work. If there instrumentalists who would like additional accompaniments in place please advise the PlentyMusic office with tempo suggestions.
Whilst there are tempo changes in these accompaniments rubato playing is not as such represented.
Arabesque is a term that refers to artistic decoration and line which are terms relevant to music. The art in respect to Arab culture is also extremely relevant as the term suggests having both historical and modern contexts. Spend time looking at Arabesque graphics. There are related aspects to line and position in ballet music so as a description of a piece of music using the term Arabesque has relevance and meaning. Close
Added: 18th September, 2024 14:09 PM |
Views : 2607
Debussy’s Arabesque No. 1 arranged for clarinet in Bb and piano sounding in the key of F This is music composed whilst Debussy was still in his 20 Show More...
Debussy’s Arabesque No. 1 arranged for clarinet in Bb and piano sounding in the key of F This is music composed whilst Debussy was still in his 20’s.
The first Arabesque has a tempo marking Andantino con moto whist the realisation for clarinet in Bb and piano plays back at an initial 112 quarter note (crotchet) beats to the minute. The music has been transposed from the original key of E to F. It is a three section work. A clarinet in Bb part appropriately transposed is appended to the full music score.
Much of the writing in this movement references triadic chords played as arpeggios. The intervals of the thirds and tenth (compound third) feature strongly in the parallel motion It is a three section work with the reflective middle section referencing the key of the sub-dominant.
The triplet pattern is a strong feature of the movement. Instrumentalists new to playing cross rhythms need to practice playing triplet rhythms for a bar and then change it to eighth notes so that they develop a clear sense of pulse in their playing.
This a movement where the tempo often ebbs and flows in what is referred to as Tempo Rubato. This is an important aspect of performance practice and something that is first associated with the music of Chopin.
Instrumentalists need to have a clear understanding of all the terms used in the score detail. 20th century music scores do generally have more graphics and terms in place to assist how the music is to be played and interpreted.
A quite stunning and impressionable piece in all senses of the word with a strong sense of melody that lends itself to being arranged for a solo instrument with an accompaniment.
Debussy composed his two Arabesques between 1888 and 1891 whilst still in his 20’s. They were originally composed for piano. They are movements that challenge the established pathways of his late romantic contemporaries. They are often described as early impressionist pieces although Debussy himself didn’t like references of his music using the term.
Debussy has famously been described as the composer who opened the door to 20th century musical composition in the sense that his compositional approach was different to that of many of his contemporaries whose music was generally becoming increasingly dissonant. Debussy’s writing is more about exploring the beauty of sound without necessarily following the rules of harmonic writing that prevailed in the 19th century.
Debussy created a new approach to composition in which beauty of sound and line were paramount exploring connections between the visual arts, nature and the environment around him His music is frequently described as being evocative in that he describes in music what he sees, hears and observes from his experiences of life. He is a composer of visual music. Debussy also lived at a time when the world as such was coming to Europe with exhibitions and as a composer he was open and influenced by the many cultures as his music catalogue suggests.
Piano accompaniments are in place to encourage ensemble practice playing at 100-88 -100 quarter note (crotchets) beats per minute and also 104-092-104, 104-100-104, 108-100-108, 112-096-112 and 112-104-112 bpm with the tempo referring to the music as a three section work. If there instrumentalists who would like additional accompaniments in place please advise the PlentyMusic office with tempo suggestions. Accompaniments are priced at 1 credit each.
Whilst there are tempo changes in these accompaniments rubato playing is not as such represented.
Arabesque is a term that refers to artistic decoration and line which are terms relevant to music. The art in respect to Arab culture is also extremely relevant as the term suggests having both historical and modern contexts. Spend time looking at Arabesque graphics. There are related aspects to line and position in ballet music so as a description of a piece of music using the term Arabesque has relevance and meaning. Close
Added: 15th September, 2024 10:09 AM |
Views : 2372
J.S. Zamecnik’s Polly in an arrangement for cello & piano. This novelty piece was published in 1926. It is a lively movement that needs to be played Show More...
J.S. Zamecnik’s Polly in an arrangement for cello & piano. This novelty piece was published in 1926. It is a lively movement that needs to be played in a swing style. The realisation plays back at 62 half note or minim beats per minute. (bpm).
In this arrangement the music sounds in the original key of D. The pdf sheetmusic download has a cello part appended to the full score. There is a strong chromatic element in this movement which has a formal structure related to the American march form Additionally there is a strong repetitive element in the use of shapes and motifs which is often a feature in the popular music idiom. Modern instruments are tonally much stronger than the instruments of the 1920’s and some of the indicated articulation markings may need to be reviewed by players.
Popular music idioms in the modern sense were established in the first decade of the 20th century first with ragtime and then with related styles like novelty piano, stride piano and subsequently with blues and jazz styles and much later other combinations . Musicians as such were provided with a career choice of either pursuing the popular or more serious classical idiom. Interestingly many successful popular music composers and performers in the early 20th century were classically trained.
The realisation plays back at 62 half note or minim beats to the minute. Accompaniments are in place playing back at 58, 60, 62, 64, 66, 68, 70 and 72 half note or minim beats to the minute.
The conventions used in the notation of swing music are confusing and not altogether consistent or to be believed. Time spent listening to performances of this piece will be helpful Communicating the swing style element that is important when the music is played. The triplet pattern or shape is the key rhythmic element
John Stepan Zamecnik had a successful career as a composer of music for film or more accurately silent films commonly referred to as photoplay music. As a composer he frequently used pseudonms. It would be interesting to ask him why? Whilst American by birth he studied music in Prague with Dvorak in the mid 1890's. Much of his working life was spent in the city of Cleveland. Close
Added: 20th June, 2024 07:06 AM |
Views : 1940
J.S. Zamecnik’s Polly in an arrangement for flute & piano. This novelty piece was published in 1926. A lively movement it needs to be played in a sw Show More...
J.S. Zamecnik’s Polly in an arrangement for flute & piano. This novelty piece was published in 1926. A lively movement it needs to be played in a swing style.
In this arrangement the music sounds in the original intended key of D. The pdf
sheetmusic download has a flute part appended to the full score. There is a strong chromatic element in this movement which has a sectional structure. There is a strong repetitive element in the use of shapes and motifs. Modern instruments are tonally much stronger than the instruments of yesteryear and some of the indicated articulation markings may need to be reviewed.
Popular music idioms were established in the first decade of the 20th century first with ragtime and then related styles like novelty and subsequently blues and jazz styles.
The realisation plays back at 64 half note or minim beats to the minute. Accompaniments are in place playing back at 60, 62, 64, 66, 68, 70 and 72 half note or minim beats to the minute.
The conventions used in the notation of swing music are confusing and not altogether consistent but it is communicating the swing style element that is important when the music is played. The triplet pattern or shape is the key rhythmic element. Novelty pieces were generally composed in American March form.
John Stepan Zamecnik had a successful career as a composer of music for film or more accurately silent films commonly referred to as photoplay music. As a composer he frequently used pseudonms, Whilst American by birth he studied music in Prague with Dvorak in the mid 1890's. Much of his working life was spent in the city of Cleveland. Close
Added: 17th June, 2024 16:06 PM |
Views : 2750
J.S. Zamecnik’s Polly in an arrangement for tenor saxophone & piano. This novelty piece was published in 1926. It is a lively movement that needs to Show More...
J.S. Zamecnik’s Polly in an arrangement for tenor saxophone & piano. This novelty piece was published in 1926. It is a lively movement that needs to be played in a swing style. The realisation plays back at 62 half note or minim bpm.
In this arrangement the music sounds in the key of Bb. The pdf sheetmusic download has a tenor saxophone part appropriately transposed appended to the full score. There is a strong chromatic element in this movement which has a formal structure related to the American march form There is a strong repetitive element in the use of shapes and motifs which is often a feature in the popular music idiom. Modern instruments are tonally much stronger than the instruments of the 1920’s and some of the indicated articulation markings may need to be reviewed by players.
Popular music idioms in the modern sense were established in the first decade of the 20th century first with ragtime and then with related styles like novelty piano, stride piano and subsequently with blues and jazz styles. Musicians as such were provided with a career choice of either pursuing the popular or more serious classical idioms. Interestingly many successful popular music composers and performers in the early 20th century were classically trained musicians.
The realisation plays back at 62 half note or minim beats to the minute. Accompaniments are in place playing back at 58, 60, 62, 64, 66, 68, 70 and 72 half note or minim beats to the minute.
The conventions used in the notation of swing music are confusing and not altogether consistent. The triplet pattern or shape is the key rhythmic element. Communicating the swing style element is important when playing this music and it would be wise to spend time listening to performances from available recordings.
John Stepan Zamecnik had a successful career as a composer of music for film or more accurately silent films commonly referred to as photoplay music. As a composer he frequently used pseudonms. It would be interesting to ask him why? Whilst American by birth he studied music in Prague with Dvorak in the mid 1890's. Much of his working life was spent in the city of Cleveland. Close
Added: 17th June, 2024 09:06 AM |
Views : 2922
J.S. Zamecnik’s Polly in an arrangement for clarinet in Bb & piano. This novelty piece was published in 1926. A lively movement it needs to be playe Show More...
J.S. Zamecnik’s Polly in an arrangement for clarinet in Bb & piano. This novelty piece was published in 1926. A lively movement it needs to be played in a swing style.
In this arrangement the music sounds has been transposed sounding in the key of B flat. The pdf sheetmusic download has a clarinet in Bb part appended to the full score. There is a strong chromatic element in what is a movement with a sectional structure. There is a strong repetitive element in the use of shapes and motifs. Modern instruments are tonally much stronger than the instruments of yesteryear and some of the indicated articulation markings may need to be reviewed.
Popular music idioms were established in the first decade of the 20th century first with ragtime and then related styles like novelty and subsequently blues and jazz styles.
The realisation plays back at 64 half note or minim beats to the minute. Accompaniments are in place playing back at 60, 62, 64, 66, 68, 70 and 72 half note or minim beats to the minute.
The conventions used in the notation of swing music are confusing and not altogether consistent but it is communicating the swing style element that is important when the music is played. .The triplet pattern or shape is the key rhythmic element. Novelty pieces were generally composed in American March form.
John Stepan Zamecnik had a successful career as a composer of music for film or more accurately silent films commonly referred to as photoplay music. As a composer he frequently used pseudonms, Whilst American by birth he studied music in Prague with Dvorak in the mid 1890's. Much of his working life was spent in the city of Cleveland. Close
Added: 14th June, 2024 09:06 AM |
Views : 2578
Nola by Felix Arndt arranged for clarinet in A & piano in the original key of D . The composition dates from 1915. It is frequently referred to as the Show More...
Nola by Felix Arndt arranged for clarinet in A & piano in the original key of D . The composition dates from 1915. It is frequently referred to as the first piece of novelty music an idiom that emerged from the ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit.
Arndt was a New York based composer and pianist who died during the Spanish Flu epidemic in 1919.
A clarinet in A is appended to the full score in the pdf sheet music download. Piano accompaniments are in place allowing clarinet players to participate in play-a-long ensemble activities as part of music practice routines. The accompaniment tracks play back at 60, 62, 64 & 66 half note (minim) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks.
Sections need to be played at the same tempo and there is little opportunity for slowing down at the end of phrases and sections.
Some of the score detail have been hidden in the #sheetmusic video score simply because the associated graphics behave inconsistently in this format.
This is music that moves along quickly but also needs to played in a completely relaxed manner.
Nola is brimming with musical ideas and inventiveness and is a very “modern” sounding work for 1915. As a musical snapshot of its time it references both the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms.
The playing style of the bass and chords is a derived from ragtime.
Contrasting and repeating sections are in evidence whilst the formal pattern of the music is A B A C D C A with an 8 bar coda at the end. The composer does not make use of repeat signs. The key plan can be summarised as I – i – I – IV - I
The novelty era has a strong connection with ragtime particularly in its formal patterns and musical shapes.
Whilst the repetitive element is strong the composer does not make use of repeat signs.
The music editor’s observation is that Felix Arndt was a hugely talented, imaginative and inventive composer and it is a tragedy that he did not live longer to compose music that similarly anticipated future trends. He left the music world with the potential to achieve so much. Born in 1889 if he had lived his entitled three year scores and ten he could have lived until 1959 and would have been a contemporary with so many other greats. It is also ironic because1959 is the year that a version of Nola achieved success in the pop charts. What is so evident is that he had a wonderful understanding of harmonic colour and the relevance of chords in the popular music idiom. He can be truly described as a musical forerunner. Apart from the abundance of musical ideas it is understanding of the harmonic framework which makes his music so appealing. There are several dance pattern steps also referenced in the music The triplet swing pattern imbues this music. Close
Added: 5th May, 2024 12:05 PM |
Views : 2156
Nola by Felix Arndt arr. flute & piano. The composition dates from 1915. It is frequently referred to as the first piece of novelty music an idiom tha Show More...
Nola by Felix Arndt arr. flute & piano. The composition dates from 1915. It is frequently referred to as the first piece of novelty music an idiom that emerged during the ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit. This is the perfect “party piece.” Arndt was a New York based composer and pianist who died during the Spanish Flu epidemic in 1919. A flute part is appended to the full score in the pdf sheet music download. Piano accompaniments are in place allowing flautists to participate in play-a-long ensemble activities as part of music practice routines. The accompaniment tracks play back at 58, 60, 62, 64 & 66 & 68 half note (minim) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. The piano accompaniment is quite playable and not nearly as difficult as the flute solo. Appreciate that there are some octave transpositions in the flute part simply to keep within the instrument’s range. Sections need to be played at the same tempo and there is little opportunity for slowing down at the end of phrases and sections. This is music that moves along quickly but also needs to played in a completely relaxed manner. Nola is brimming with musical ideas and inventiveness and is a very “modern” sounding work for 1915. As a musical snapshot of its time it references both the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms. Swing playing identifies more with the 1920’s so this is definitely music ahead of its time. The playing style of the bass and chords is derived from ragtime. Contrasting and repeating sections are in evidence whilst the formal pattern of the music is A B A C D C A with an 8 bar coda at the end. The key plan can be summarised as I – i – I – IV - I The novelty era has a strong connection with ragtime particularly in its formal patterns and musical shapes. Whilst the repetitive element is strong the composer does not make use of repeat signs. The music editor’s observation is that Felix Arndt was a hugely talented, imaginative and inventive composer and it is a tragedy that he did not live longer to compose music that similarly anticipated future trends. He left the music world with the potential to achieve so much. Born in 1889 if he had lived his entitled three year scores and ten he could have lived until 1959 and would have been a contemporary with so many other greats. It is also ironic because 1959 is the year that a version of Nola achieved success in the pop charts. What is so evident is that he had a wonderful understanding of harmonic colour and the relevance of chords in the popular music idiom. He can be truly described as a musical forerunner. Apart from the abundance of musical ideas it is understanding of the harmonic framework which makes his music so appealing. There are several dance move references in the music The triplet swing pattern imbues this music. Close
Added: 29th April, 2024 07:04 AM |
Views : 2233
Nola by Felix Arndt arranged for soprano saxophone & piano. The composition dates from 1915. It is frequently referred to as the first piece of novelt Show More...
Nola by Felix Arndt arranged for soprano saxophone & piano. The composition dates from 1915. It is frequently referred to as the first piece of novelty music an idiom that emerged from the ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit.
Arndt was a New York based composer and pianist who died during the Spanish Flu epidemic in 1919.
A soprano saxophone part is appended to the full score in the pdf sheet music download. Piano accompaniments are in place allowing saxophone players to participate in play-a-long ensemble activities as part of music practice routines. The accompaniment tracks play back at 58, 60, 62, 64 & 66 & 68 half note (minim) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. The piano accompaniment is quite playable and not nearly as difficult as the clarinet solo.
Sections need to be played at the same tempo and there is little opportunity for slowing down at the end of phrases and sections. There are a number of octave transpositions in the solo saxophone part to keep within the instruments range.
This is music that moves along quickly but also needs to played in a completely relaxed manner.
Nola is brimming with musical ideas and inventiveness and is a very “modern” sounding work for 1915. As a musical snapshot of its time it references both the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms.
The playing style of the bass and chords is derived from ragtime.
Contrasting and repeating sections are in evidence whilst the formal pattern of the music is A B A C D C A with an 8 bar coda at the end. The composer does not make use of repeat signs. The key plan can be summarised as I – i – I – IV - I
The novelty era has a strong connection with ragtime particularly in its formal patterns and musical shapes.
Whilst the repetitive element is strong the composer does not make use of repeat signs.
The music editor’s observation is that Felix Arndt was a hugely talented, imaginative and inventive composer and it is a tragedy that he did not live longer to compose music that similarly anticipated future trends.
Nola by Felix Arndt dates from 1915. It is frequently referred to as the first novelty piano piece, a musical idiom emerging from the ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit. Close
Added: 22nd April, 2024 14:04 PM |
Views : 2751
Nola by Felix Arndt arranged for clarinet in Bb & piano. The composition dates from 1915. It is frequently referred to as the first piece ofnovelty mu Show More...
Nola by Felix Arndt arranged for clarinet in Bb & piano. The composition dates from 1915. It is frequently referred to as the first piece ofnovelty music an idiom that emerged from the ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit.
Arndt was a New York based composer and pianist who died during the Spanish Flu epidemic in 1919.
A clarinet in B flat is appended to the full score in the pdf sheet music download. Piano accompaniments are in place allowing clarinet players to participate in play-a-long ensemble activities as part of music practice routines. The accompaniment tracks play back at 58, 60, 62, 64, 66 & 68 half note (minim) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. The piano accompaniment is quite playable and not nearly as difficult as the clarinet solo.
Sections need to be played at the same tempo and there is little opportunity for slowing down at the end of phrases and sections.
This is music that moves along quickly but also needs to played in a completely relaxed manner.
Nola is brimming with musical ideas and inventiveness and is a very “modern” sounding work for 1915. As a musical snapshot of its time it references both the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms.
The playing style of the bass and chords is a derived from ragtime.
Contrasting and repeating sections are in evidence whilst the formal pattern of the music is A B A C D C A with an 8 bar coda at the end. The composer does not make use of repeat signs. The key plan can be summarised as I – i – I – IV - I
The novelty era has a strong connection with ragtime particularly in its formal patterns and musical shapes.
Whilst the repetitive element is strong the composer does not make use of repeat signs.
The music editor’s observation is that Felix Arndt was a hugely talented, imaginative and inventive composer and it is a tragedy that he did not live longer to compose music that similarly anticipated future trends. Close
Added: 20th April, 2024 12:04 PM |
Views : 3017
An intermediate level arrangement for tenor horn and piano of a shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. ideal as an enco Show More...
An intermediate level arrangement for tenor horn and piano of a shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. ideal as an encore in a performing context. In this version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as the closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds. As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 44 dotted half notes (minim) beats to the minute whilst the sample used is one of a horn though not specifically a tenor horn.The tenor horn is a transposing instruments and the part sounds a major sixth lower than written. What is paramount in a performance is that the music does not stutter in the tempo changing sense during a performance. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. There is the suggestion that no two performances could ever be the same simply because of the acoustic and possibly the mood of the soloist. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 38, 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments in his music probably better than anybody else. Close
Added: 23rd June, 2023 11:06 AM |
Views : 2720
An intermediate level arrangement for trumpet in Bb and piano of a cut down version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this short Show More...
An intermediate level arrangement for trumpet in Bb and piano of a cut down version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this shortened encore version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as the closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds. As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 44 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 38, 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments in his music probably better than anybody else. Close
Added: 22nd June, 2023 12:06 PM |
Views : 2327
An intermediate level arrangement for alto saxophone and piano of a cut down version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this shor Show More...
An intermediate level arrangement for alto saxophone and piano of a cut down version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this shortened encore version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds.As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 44 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments in his music probably better than anybody else. Close
Added: 22nd June, 2023 11:06 AM |
Views : 2415
An intermediate level arrangement for tenor saxophone and piano of a cut down version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this sho Show More...
An intermediate level arrangement for tenor saxophone and piano of a cut down version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this shortened version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds.As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 44 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments in his music probably better than anybody else. Close
Added: 22nd June, 2023 11:06 AM |
Views : 2511
An intermediate level arrangement for baritone horn and piano of a shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. ideal as an e Show More...
An intermediate level arrangement for baritone horn and piano of a shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. ideal as an encore in a performing context. In this version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as the closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds. As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 44 dotted half notes (minim) beats to the minute which the music editor feels on reflection is probably a little on the fast side. The baritone part is notated in the treble clef and sounds a ninth lower than written. Please advise the PlentyMusic office if you require a bass clef option. What is paramount in a performance is that the music does not stutter in the tempo changing sense during a performance. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. There is the suggestion that no two performances could ever be the same simply because of the acoustic and possibly the mood of the soloist. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 38, 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments in his music probably better than anybody else. Close
Added: 19th June, 2023 10:06 AM |
Views : 2435
An intermediate level arrangement for euphonium and piano of a shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. ideal as an encor Show More...
An intermediate level arrangement for euphonium and piano of a shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. ideal as an encore in a performing context. In this version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as the closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds. As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 44 dotted half notes (minim) beats to the minute which the music editor feels on reflection is probably a little on the fast side. The euphonium part is notated in the treble clef. Should players require a bass clef version please advise the PlentyMusic office. What is paramount in a performance is that the music does not stutter in the tempo changing sense during a performance. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. There is the suggestion that no two performances could ever be the same simply because of the acoustic and possibly the mood of the soloist. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 38, 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments in his music probably better than anybody else. Close
Added: 19th June, 2023 08:06 AM |
Views : 2231
An intermediate level arrangement for violin and piano of a shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6 ideal as an encore. Show More...
An intermediate level arrangement for violin and piano of a shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6 ideal as an encore. In this cut down arrangement an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda.
Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds.
As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 40 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing.
Piano accompaniments are available playing at, 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes in the accompaniment are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the very saddest moments probably better than anybody else. Close
Added: 19th June, 2023 08:06 AM |
Views : 2355
An intermediate level arrangement for viola and piano of a shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this cut down arr Show More...
An intermediate level arrangement for viola and piano of a shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this cut down arrangement an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda.
Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds.
As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 40 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing.
Piano accompaniments are available playing at 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes in the accompaniment are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the very saddest moments probably better than anybody else. Close
Added: 17th June, 2023 07:06 AM |
Views : 2498
An intermediate level arrangement for bass trombone and piano of a shortened encore version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In th Show More...
An intermediate level arrangement for bass trombone and piano of a shortened encore version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this cut down version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as the closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds. As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 44 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 38, 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments in his music probably better than anybody else. Close
Added: 11th June, 2023 06:06 AM |
Views : 2611
Clara Schumann’s “Warum willst du And’re fragen” (Why do you question others?) in an arrangement for clarinet in Bb & piano. Dating from 1841 Show More...
Clara Schumann’s “Warum willst du And’re fragen” (Why do you question others?) in an arrangement for clarinet in Bb & piano. Dating from 1841 this is a reflective and contemplative romantic instrumental arrangement. The realisation plays back at 74 quarter note crotchet beats per minute. In the arrangement the piano generally doubles the melody which whilst reassuring for the instrumental soloist doesn't represent best practice in a musical sense. There should always be a focus on communicating beauty of sound and tone when playing Clara Schumann’s and music by her contemporaries. The voicing particularly in the piano accompaniment is always very considered with the harmonic writing demonstrating chromatic elements typically found in music of its composition date. Players who want to understand or even confirm phrasing options should simply sing the melody and identify places in the score where it is necessary to breathe. There are subtle tempo changes needed as the movement progresses with slowing downs required at the ends of phrases. Returning to a tempo particularly at the start of phrases is an important aspect of performing this music successfully. Use of the piano sustaining pedal is recommended in the accompaniment but is only indicated in the opening bars. The music editor suggests only light use so that the harmonic lines are not blurred or become muddy. Piano accompaniments are available playing at 72, 74 and 76 quarter note or crotchet beats to the minute. These provide an opportunity for instrumentalists to incorporate ensemble practice as part of regular home music practice routines.
There is quite obviously a strong connection and similarities between the composition approach of Robert and Clara Schumann's music. Clara in fact edited much of her husband's music for publishers in the 19th century and was an immense musical talent in her own right. The melody is quite reminiscent of the opening song from Robert Schumann's Dichterliebe song cycle. Additionally, this is one of the songs that Clara Schumann contributed to Robert Schumann’s 12 Gedichte Aus Liebesfruling Opus 37 Close
Added: 9th June, 2023 13:06 PM |
Views : 2851
Clara Schumann’s “Warum willst du And’re fragen” (Why do you question others?) in an arrangement for soprano saxophone & piano. Dating from 18 Show More...
Clara Schumann’s “Warum willst du And’re fragen” (Why do you question others?) in an arrangement for soprano saxophone & piano. Dating from 1841 this is a reflective and contemplative romantic instrumental arrangement #sheet music & accompaniment links:
In the arrangement the piano generally doubles the melody which whilst reassuring for the instrumental soloist doesn't represent best practice in a musical sense.
There should always be a focus on communicating beauty of sound and tone when playing Clara Schumann’s and music by her contemporaries.
The voicing particularly in the piano accompaniment is always very considered with the harmonic writing demonstrating chromatic elements typically found in music of its composition date.
Players who want to understand or even confirm phrasing options should simply sing the melody and identify places in the score where it is necessary to breathe.
There are subtle tempo changes needed as the movement progresses with slowing downs required at the ends of phrases. Returning to a tempo particularly at the start of phrases is an important aspect of performing this music successfully.
Use of the sustaining pedal is recommended but only indicated in the opening bars. The music editor suggests only light use so that the harmonic lines are not blurred or become muddy.
Piano accompaniments are available playing at 72, 74 and 76 quarter note or crotchet beats to the minute. These provide an opportunity for instrumentalists to incorporate ensemble practice as part of regular music practice routines.
There is quite obviously a strong connection and similarities between the composition approach of Robert and Clara Schumann's music. Clara in fact edited much of her husband's music for publishers in the 19th century and was an immense musical talent in her own right. The melody is quite reminiscent of the opening song from Robert Schumann's Dichterliebe song cycle. This is one of the songs that Clara Schumann contributed to Robert Schumann’s 12 Gedichte Aus Liebesfruling Opus 37 Close
Added: 7th June, 2023 09:06 AM |
Views : 2498
An intermediate level arrangement for oboe and piano of Tchaikovsky’s Valse Sentimentale Opus 51 No.6 The music is hauntingly beautiful and this arr Show More...
An intermediate level arrangement for oboe and piano of Tchaikovsky’s Valse Sentimentale Opus 51 No.6 The music is hauntingly beautiful and this arrangement is an encore version with an alternative which simplifies Tchaikovsky’s original cadenza like coda. Formally this cut down shorter version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds.
As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 44 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments in his music probably better than anybody else. Close
Added: 29th May, 2023 11:05 AM |
Views : 3490
A hauntingly beautiful piece with a melody that the music editor suggests could and should be an ideal earworm. An intermediate level arrangement for Show More...
A hauntingly beautiful piece with a melody that the music editor suggests could and should be an ideal earworm. An intermediate level arrangement for bassoon and piano of an encore version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this cut down version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds.
As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 40 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes in the accompaniment are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the very saddest moments probably better than anybody else. Close
Added: 28th May, 2023 06:05 AM |
Views : 1836
An intermediate level arrangement for clarinet in Bb and piano of an encore shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6 In t Show More...
An intermediate level arrangement for clarinet in Bb and piano of an encore shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6 In this cut down version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds.
As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo is 40 dotted half notes (minims) to the bar. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 40, 42 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes in the piano accompaniment are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments probably better than anybody else. Close
Added: 26th May, 2023 09:05 AM |
Views : 3085
An intermediate level arrangement for cello and piano of an encore shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this cut Show More...
An intermediate level arrangement for cello and piano of an encore shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this cut down version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds.
As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 40 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes in the accompaniment are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the very saddest moments probably better than anybody else. Close
Added: 26th May, 2023 09:05 AM |
Views : 2990
An intermediate level arrangement for soprano saxophone and piano of a shortened encore version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. I Show More...
An intermediate level arrangement for soprano saxophone and piano of a shortened encore version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this cut down version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds.As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 44 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments in his music probably better than anybody else. Close
Added: 17th May, 2023 14:05 PM |
Views : 2412
An intermediate level arrangement for flute and piano of a shortened encore version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6 In this cut do Show More...
An intermediate level arrangement for flute and piano of a shortened encore version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6 In this cut down version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds. As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The realisation plays back at 44 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 40, 42 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music.Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments in his music probably better than anybody else. Close
Added: 15th May, 2023 16:05 PM |
Views : 3070
As a beginner score the letter names of the notes appear in the note heads and suggested fingering is in place. The tempo of the playback on the video Show More...
As a beginner score the letter names of the notes appear in the note heads and suggested fingering is in place. The tempo of the playback on the video score is 84 half note or minim beats to the minute. Playing a blues structured piece of music does encourage fluent playing and the development of musical memory. The 12 bar blues forms the basis of much popular music of the 20th century. Close
Added: 2nd May, 2023 08:05 AM |
Views : 2910
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for clarinet in A and piano sounds in the key of C Show More...
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for clarinet in A and piano sounds in the key of C whilst the PlentyMusic sheet music realisation plays back at 90 quarter note (crotchet) beats to the minute. Improve music practice strategies by downloading this sheet music score and accompaniments from PlentyMusic.
The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato with a piano accompaniment that needs to imitate the pizzicato sound of the strings. There are some octave transpositions in the clarinet part and observant listeners will recognise that not all the ornamaments sound in the realisation. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested while an oboe part is appended to the full score available as a pdf download from the website.
The repeats do not play in the realisation. mp3 piano accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments provide the clarinet player the opportunity to practice in an ensemble context and play as part of a duet. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments to establish the tempo.
An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers.
The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. The ornaments, acciaccaturas (crushed notes) which are probably best omitted in the early stages of playing the movement.
This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency.
The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity.
Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close
Added: 13th April, 2023 18:04 PM |
Views : 2649
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for violin and piano in the key of C whilst the Plen Show More...
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for violin and piano in the key of C whilst the PlentyMusic sheet music realisation plays back at 94 quarter note (crotchet) beats to the minute. Improve music practice strategies by downloading this sheet music score and accompaniments from PlentyMusic.
The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato with a piano accompaniment that needs to imitate the pizzicato sound of the strings. Observant listeners will recognise that not all the ornamaments sound in the realisation. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested and a violin part is appended to the full score available as a pdf download from the website.
The repeats which are not marked in the video score do not play in the realisation or video score. mp3 piano accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments the violinist the opportunity to practice in an ensemble context and play as part of a duet. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments to establish the tempo.
An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. There is quiet an amount of playing for the string player.
The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol.
This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency.
The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity.
Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close
Added: 11th April, 2023 13:04 PM |
Views : 2948
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for viola and piano in the key of C whilst the Plent Show More...
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for viola and piano in the key of C whilst the PlentyMusic sheet music realisation plays back at 94 quarter note (crotchet) beats to the minute. Improve music practice strategies by downloading this sheet music score and accompaniments from PlentyMusic.
The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato with a piano accompaniment that needs to imitate the pizzicato sound of the strings. There are some octave transpositions in the viola part and observant listeners will recognise that not all the ornamaments sound in the realisation. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested whilst an oboe part is appended to the full score available as a pdf download from the website.
The repeats which are not marked in the video score do not play in the realisation or video score. mp3 piano accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments the violist the opportunity to practice in an ensemble context and play as part of a duet. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments to establish the tempo.
An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. There is quite an amount of playing for the string player.
The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. In the video score all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) which are probably best omitted in the early stages of playing the movement.
This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency.
The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity.
Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close
Added: 11th April, 2023 13:04 PM |
Views : 2775
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for baritone (horn) wit Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for baritone (horn) with piano accompaniment the sounding key is F and the PlentyMusic realisation plays back at 76 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time in music history. The baritone part has been notated in the treble clef and sounds a ninth lower than written.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 7th March, 2023 09:03 AM |
Views : 2477
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for tenor horn with pia Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for tenor horn with piano accompaniment the sounding key is Eb and the PlentyMusic realisation plays back at 76 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time in music history.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 6th March, 2023 12:03 PM |
Views : 1938
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for English horn with p Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for English horn with piano accompaniment the sounding key is F and the PlentyMusic video sheet music score plays back at 76 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time.
As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 3rd March, 2023 11:03 AM |
Views : 2495
Lullaby or Cradle Song by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for viola with piano acco Show More...
Lullaby or Cradle Song by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for viola with piano accompaniment the sounding key is Eb and the PlentyMusic realisation of the sheet music score plays back at 80 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time.
As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 1st March, 2023 14:03 PM |
Views : 2225
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for violin with piano a Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for violin with piano accompaniment the sounding key is D and the PlentyMusic realisation of the sheet music score plays back at 76 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time.
As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 1st March, 2023 14:03 PM |
Views : 2253
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for violin with piano a Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for violin with piano accompaniment the sounding key is F and the PlentyMusic realisation of the sheet music score plays back at 76 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time.
As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available. There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 1st March, 2023 14:03 PM |
Views : 2330
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for trombone with piano Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for trombone with piano accompaniment the sounding key is F and the PlentyMusic realisation plays back at 76 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time in music history.
As a song intended to be sung by different voices the music is transposed to a key most appropriate for the voice or in this case instrument. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 1st March, 2023 13:03 PM |
Views : 1743
Lullaby or Cradle Song by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for French horn with pian Show More...
Lullaby or Cradle Song by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for French horn with piano accompaniment the sounding key is F and the PlentyMusic realisation plays back at 80 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time in music history.
As a song intended to be sung by different voices the music is usually transposed to a key most appropriate for the voice or in this case instrument. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 1st March, 2023 13:03 PM |
Views : 2412
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for trumpet in Bb with Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for trumpet in Bb with piano accompaniment the sounding key is F and the PlentyMusic realisation plays back at 76 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time in music history.
As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 1st March, 2023 12:03 PM |
Views : 2232
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for soprano saxophone w Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for soprano saxophone with piano accompaniment the sounding key is Eb and the PlentyMusic realisation plays back at 76 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time.
As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category Close
Added: 1st March, 2023 12:03 PM |
Views : 2401
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for soprano saxophone w Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for soprano saxophone with piano accompaniment the sounding key is Eb and the PlentyMusic realisation plays back at 76 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time.
As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 28th February, 2023 18:02 PM |
Views : 2396
An intermediate level arrangement for trumpet in Bb with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s int Show More...
An intermediate level arrangement for trumpet in Bb with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses.
The PlentyMusic video sheet music score plays back at 36 dotted quarter notes or crotchet beats to the minute.
Improve music practice routines with PlentyMusic piano accompaniments playing back at 32, 34, 36, 38, 40 & 42 dotted quarter note or crotchet beats to the minute which are available from the PlentyMusic website.
In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score.
The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection.
The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339.
As there is a reduction in the musical texture some of the original musical content has been omitted.
The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work.
This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
Added: 28th February, 2023 17:02 PM |
Views : 3185
An intermediate level arrangement for violin with piano accompaniment of Mozart’s Laudate Dominum dating from 1780. The arranger’s intention has b Show More...
An intermediate level arrangement for violin with piano accompaniment of Mozart’s Laudate Dominum dating from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses.
The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute.
Piano accompaniments are available playing back at 32, 34, 36, 38, 40 and 42 dotted quarter note or crotchet beats to the minute are available from the PlentyMusic website.
Violinists need to aiming to play with as beautiful a legato as possible aiming to phrase the music to communicate the beauty of the melodic line. This is also an excellent movement for players to work at improving tonal quality and tonal range in their playing. A movement that is quite long in respect to playing time but the fact that the melody is shared does enable each of the players to prepare for their solos.
In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score. The oboist shares the melody with the piano and there is no doubling of parts
The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection.
The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339.
As there is a reduction in the musical texture some of the original musical content has been omitted.
The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work to study the breathing and phrasing of the singers.
This is also an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are additionally a strong feature. Close
Added: 28th February, 2023 16:02 PM |
Views : 2665
An intermediate level arrangement for soprano saxophone with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s Show More...
An intermediate level arrangement for soprano saxophone with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses.
The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute.
Piano accompaniments are available playing back at 32, 34, 36, 38, 40 and 42 dotted quarter note or crotchet beats to the minute are available.
Soprano players need to be aiming to play with a beautiful legato, planning their breathing carefully and aiming to phrase the music to communicate the beauty of the melodic line. It is an excellent movement for players to work at improving tonal quality and tonal range in their playing.
In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score.
The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection.
The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339.
As there is a reduction in the musical texture some of the original musical content has been omitted.
The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work to study the breathing and phrasing of the singers.
This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
Added: 28th February, 2023 14:02 PM |
Views : 2720
An intermediate level arrangement for clarinet in Bb with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s in Show More...
An intermediate level arrangement for clarinet in Bb with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses.
The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute.
Improve music practice routines by using PlentyMusic piano accompaniments playing back at 32, 34, 36, 38, 40 and 42 dotted quarter note or crotchet beats to the minute available from the PlentyMusic website.
In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score.
The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection.
The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339.
As there is a reduction in the musical texture some of the original musical content has been omitted.
The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work.
This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
Added: 28th February, 2023 14:02 PM |
Views : 2539
An intermediate level arrangement for oboe with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention h Show More...
An intermediate level arrangement for oboe with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses.
The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute.
Piano accompaniments are available playing back at 32, 34, 36, 38, 40 and 42 dotted quarter note or crotchet beats to the minute are available.
In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score.
The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection.
The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339.
As there is a reduction in the musical texture some of the original musical content has been omitted.
The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work.
This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
Added: 28th February, 2023 14:02 PM |
Views : 2849
An intermediate level arrangement for flute with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention h Show More...
An intermediate level arrangement for flute with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses.
The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute.
Piano accompaniments are available playing back at 32, 34, 36, 38 40 and 42 dotted quarter note or crotchet beats to the minute are available.
Flautists need to aiming to play with a beautiful legato, planning their breathing carefully and aiming to phrase the music to communicate the beauty of the melodic line. Additionally this is an excellent movement for flautists to work at improving tonal quality and tonal range in their playing.
In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score.
The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection. It is quite a long piece to play but sections where the piano has the melody gives the flautist the time and opportunity to prepare.
The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339
As there is a reduction in the musical texture some of the original musical content has been omitted.
The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work to study the breathing and phrasing of the singers.
This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
Added: 28th February, 2023 12:02 PM |
Views : 2892
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for clarinet with piano Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for clarinet with piano accompaniment the sounding key is F and the PlentyMusic video sheet music score plays back at 76 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time.
As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 28th February, 2023 11:02 AM |
Views : 2242
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for clarinet with piano Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for clarinet with piano accompaniment the sounding key is Eb and the PlentyMusic video sheet music score plays back at 76 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time. in music history.
As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 28th February, 2023 11:02 AM |
Views : 2320
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for oboe with piano acc Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for oboe with piano accompaniment the sounding key is Eb and the PlentyMusic video sheet music score plays back at 80 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time. in music history.
As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 28th February, 2023 11:02 AM |
Views : 2279
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for flute with piano ac Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for flute with piano accompaniment the sounding key is D and the PlentyMusic realisation plays back at 80 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time.
As a song intended to be sung by a different range of voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are also wide variations in tempo as to how the music is performed. The music editor suggests at least learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and above all the imagination working the melody with a different accompaniment and stylistic approaches can be a rewarding and broadening musical experience.
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 28th February, 2023 10:02 AM |
Views : 2627
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for flute with piano ac Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for flute with piano accompaniment the sounding key is Eb and the PlentyMusic video sheet music score plays back at 80 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western notated music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time in music history.
As a song intended to be sung by a different range of voices the music is often transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are also wide variations in tempo as to how the music is performed. The music editor suggests at least learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and above all the imagination working the melody with a different accompaniment and stylistic approaches can be a rewarding and broadening musical experience.
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 28th February, 2023 09:02 AM |
Views : 2202
Lullaby by J. Brahms is a famous and familiar melody from the classical / romantic music repertoire. In this arrangement for cello with piano accompan Show More...
Lullaby by J. Brahms is a famous and familiar melody from the classical / romantic music repertoire. In this arrangement for cello with piano accompaniment the sounding key is F and the PlentyMusic realisation of the sheet music score plays back at 80 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played to communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time.
As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 21st February, 2023 13:02 PM |
Views : 3024
Bach J.S. Sinfonia 11 BWV 797 arranged for trumpet in Bb playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for trumpet in Bb playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the violist the opportunity of playing in an ensemble.
In this arrangement the the trumpet player contributes with voice 2 whilst the pianist plays voices 1 and 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. A trumpet in Bb part appropriately transposed is appended to the full music score that can be downloaded from the PlentyMusic website.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 6th January, 2023 15:01 PM |
Views : 2049
Bach J.S. Sinfonia 11 BWV 797 arranged for viola playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent movement Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for viola playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the violist the opportunity of playing in an ensemble.
In this arrangement the violist contributes with voice 2 whilst the pianist plays voices 1 and 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. A viola part appropriately transposed is appended to the full music score that can be downloaded from the PlentyMusic website.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 6th January, 2023 12:01 PM |
Views : 2027
Bach J.S. Sinfonia 11 BWV 797 arranged for French horn playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent mo Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for French horn playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the French horn player the opportunity of playing in an ensemble.
In this arrangement the French horn contributes with voice 2 whilst the pianist plays voices 1 and 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. A French horn part appropriately transposed is appended to the full music score that can be downloaded from the PlentyMusic website.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 6th January, 2023 11:01 AM |
Views : 1923
Bach J.S. Sinfonia 11 BWV 797 arranged for English horn playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent m Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for English horn playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the horn player the opportunity of playing in an ensemble.
In this arrangement the English horn contributes with voice 2 whilst the pianist cplays voices 1 and 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. An English horn part appropriately transposed is appended to the full music score that can be downloaded from the PlentyMusic website.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 6th January, 2023 10:01 AM |
Views : 2289
J. S. Bach’s Sinfonia 11 BWV 797 arranged for clarinet in Bb playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are exc Show More...
J. S. Bach’s Sinfonia 11 BWV 797 arranged for clarinet in Bb playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve #musicpractice routines.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the alto saxophonist the opportunity of playing in an ensemble.
In this arrangement the clarinet player in Bb plays voice 2 with the pianist contributing voices 1 and 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. A clarinet in Bb part is appended to the full music score that can be downloaded from the PlentyMusic website.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 6th January, 2023 10:01 AM |
Views : 2205
Bach J.S. Sinfonia 11 BWV 797 arranged for alto saxophone and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve mus Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for alto saxophone and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines and strategies.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Piano accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the alto saxophonist the opportunity of playing in an ensemble.
In this arrangement the alto saxophonist plays voice 2 with the pianist contributing with voices 1 and 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. An alto saxophone part is appended to the full music score that can be downloaded from the PlentyMusic website.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 6th January, 2023 09:01 AM |
Views : 2630
Bach J.S. Sinfonia 11 BWV 797 arranged for trumpet in Bb and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve musi Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for trumpet in Bb and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the trumpet player the opportunity of playing in an ensemble. For this arrangement it would be fine for any of the accompaniments for Sinfonia 11 in the key of G minor to be used so that a mix and match approach is possible. Playing the voice 2 arrangement may well be an easier option
In this arrangement the trumpet player plays voice 1 with the piano contributing with voices 2 and 3 . The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. An oboe part is appended to the full music score that can be downloaded from the PlentyMusic website. There is a one note octave transposition in bar 51 and oboists may choose to play the middle C in the previous bar an octave higher to keep the shape of the line/voice.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
Rehearsal marks are in place at bars 17, 33, 48 and 65 on the music score although the music editor suggests that in music of this style players will know immediately when they not quite together.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 5th January, 2023 18:01 PM |
Views : 2110
Bach J.S. Sinfonia 11 BWV 797 arranged for violin and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music pract Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for violin and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Piano accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the violinist the opportunity of playing in an ensemble. For this arrangement it would be fine for any of the accompaniments for Sinfonia 11 in the key of G minor to be used so that a mix and match approach is possible.
In this arrangement the violinist plays voice 1 with the piano contributing with voice 2 and voice 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. A violin part is appended to the full music score that can be downloaded from the PlentyMusic website.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 5th January, 2023 17:01 PM |
Views : 2203
Bach J.S. Sinfonia 11 BWV 797 arranged for soprano saxophone and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for soprano saxophone and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Piano accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the soprano saxophone player the opportunity of playing in an ensemble. For this arrangement it would be fine for any of the accompaniments for Sinfonia 11 in the key of G minor to be used so that a mix and match approach is possible.
In this arrangement the soprano saxophonist plays voice 1 with the piano contributing with voice 2 and voice 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. A soprano saxophone part is appended to the full music score that can be downloaded from the PlentyMusic website.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 5th January, 2023 16:01 PM |
Views : 2108
Bach J.S. Sinfonia 11 BWV 797 arranged for clarinet in Bb and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve mus Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for clarinet in Bb and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Piano accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the clarinettist the opportunity of playing in an ensemble. For this arrangement it would be fine for any of the accompaniments for Sinfonia 11 in the key of G minor to be used so that a mix and match approach is possible.
In this arrangement the clarinet plays voice 1 with the piano contributing with voice 2 and voice 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. An clarinet part is appended to the full music score that can be downloaded from the PlentyMusic website.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 5th January, 2023 15:01 PM |
Views : 2213
Bach J.S. Sinfonia 11 BWV 797 arranged for oboe and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practic Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for oboe and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Piano accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the oboist the opportunity of playing in an ensemble. For this arrangement it would be fine for any of the accompaniments for Sinfonia 11 in the key of G minor to be used so that a mix and match approach is possible.
In this arrangement the oboe plays voice 1 with the piano contributing with voice 2 and voice 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. An oboe part is appended to the full music score that can be downloaded from the PlentyMusic website. There is a one note octave transposition in bar 51 and oboists may choose to play the middle C in the previous bar an octave higher to keep the shape of the line/voice.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
Rehearsal marks are in place at bars 17, 33, 48 and 65 on the music score although the music editor suggests that in music of this style players will know immediately when they not quite together.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 5th January, 2023 12:01 PM |
Views : 2235
Sinfonia 11 BWV 797 by J.S. Bach arranged for flute and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music pra Show More...
Sinfonia 11 BWV 797 by J.S. Bach arranged for flute and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the flute player the opportunity of playing in an ensemble. For this arrangement it would be fine for any of the accompaniments for Sinfonia 11 in the key of G minor to be used so that a mix and match approach is possible.
In this arrangement the flute plays voice 1 with the piano contributing with voice 2 and voice 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. A flute part is appended to the full music score that can be downloaded from the PlentyMusic website. There is just one octave transposition in bar 51 and flautists may choose to play the middle C in the previous bar an octave higher to keep the shape of the line/voice.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
Rehearsal marks are in place at bars 17, 33, 48 and 65 on the music score although the music editor suggests that in music of this style players will know immediately when they not quite together.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 4th January, 2023 18:01 PM |
Views : 2523
Bach J.S. Sinfonia 8 BWV 794 arranged for trumpet in Bb & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve ensembl Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for trumpet in Bb & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve ensemble music practice routines. Download sheet music and piano accompaniments from PlentyMusic.
The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration that can be played at a range of tempi. A trumpet in Bb part appropriately transposed is appended to the full sheet music score.
In this arrangement the trumpet player plays the middle voice 2 whilst the pianist contributes with voices 1 and 3 The trumpet in Bb and piano realisation plays back at 76 quarter note beats crotchet beats to the minute
Ornaments have been omitted in the music score although, those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the voices.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence.
For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 72, 76, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. Please advise the PlentyMusic Office more accompaniments are required with the tempo specified.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences - bars 7, 15 and 23. Close
Added: 25th November, 2022 13:11 PM |
Views : 2942
Bach J.S. Sinfonia 8 BWV 794 arranged for clarinet in Bb & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve ensemb Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for clarinet in Bb & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve ensemble music practice routines. Download sheet music and piano accompaniments from PlentyMusic
The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration and a movement that can be played at a range of tempi. A clarinet in Bb part appropriately transposed is appended to the full sheet music score.
In this arrangement the clarinetist plays the middle voice 2 whilst the piano player contributes with voices 1 and 3 The clarinet in Bb and piano realisation plays back at 76 quarter note or crotchet beats to the minute
Ornaments have been omitted in the music score although, those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the voices
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence.
For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 72, 76, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. Please advise the PlentyMusic Office more accompaniments are required with the tempo specified.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences - bars 7, 15 and 23. Close
Added: 25th November, 2022 12:11 PM |
Views : 2562
Bach J.S. Sinfonia 8 BWV 794 arranged for English horn (Cor anglais) & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to im Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for English horn (Cor anglais) & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve ensemble music practice routines. Download sheet music and piano accompaniments from PlentyMusic
The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration and a movement that can be played at a range of tempi. An English horn (Cor anglais) part appropriately transposed is appended to the full sheet music score.
In this arrangement the English horn (Cor anglais) plays the middle voice 2 whilst the piano player contributes with voices 1 and 3 The English horn (Cor anglais) and piano realisation plays back at 76 quarter note or crotchet beats to the minute
Ornaments have been omitted in the music score although, those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the voices
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence.
For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 72, 76, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. Please advise the PlentyMusic Office more accompaniments are required with the tempo specified.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences - bars 7, 15 and 23. Close
Added: 25th November, 2022 12:11 PM |
Views : 2434
Bach J.S. Sinfonia 8 BWV 794 arranged for alto saxophone & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve ensem Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for alto saxophone & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve ensemble music practice routines. Download sheet music and piano accompaniments from PlentyMusic
The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration and a movement that can be played at a range of tempi. An alto saxphone part appropriately transposed is appended to the full sheet music score.
In this arrangement the alto saxophonist plays the middle voice 2 whilst the piano player contributes with voices 1 and 3 The alto saxophone and piano realisation plays back at 76 quarter note or crotchet beats to the minute
Ornaments have been omitted in the music score although, those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the voices
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence.
For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 72, 76, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. Please advise the PlentyMusic Office more accompaniments are required with the tempo specified.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences - bars 7, 15 and 23. Close
Added: 25th November, 2022 12:11 PM |
Views : 2691
Bach J.S. Sinfonia 8 BWV 794 arranged for viola & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve ensemble music Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for viola & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve ensemble music practice routines. Download sheet music and piano accompaniments from PlentyMusic
The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration and a movement that can be played at a range of tempi. A viola part is appended to the full sheet music score.
In this arrangement the violist plays the middle voice 2 whilst the piano player contributes with voices 1 and 3 The viola and piano realisation plays back at 76 quarter note or crotchet beats to the minute
Ornaments have been omitted in the music score although, those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the voices
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence.
For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 72, 76, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. Please advise the PlentyMusic Office more accompaniments are required with the tempo specified.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences - bars 7, 15 and 23. Close
Added: 25th November, 2022 11:11 AM |
Views : 2700
Bach J.S. Sinfonia 8 BWV 794 arranged for trumpet in Bb & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music p Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for trumpet in Bb & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. Download sheet music and piano accompaniments from PlentyMusic.
The Sinfonia 8 sounds in the key of F is a cheerful and appealing movement with some attractive figuration that can be played at a range of tempi. A trumpet part appropriately transposed is appended to the full sheet music score.
In this arrangement the trumpet player plays the higher voice 1 whilst the piano player contributes with voices 2 and 3 The trumpet in Bb and piano realisation plays back at 76 quarter note or crotchet beats to the minute.
Ornaments have been omitted in the preparing of this music scores although those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the other voices.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 72, 86, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. Rits. are not in place at the cadences in these accompaniments although they might be appropriate in a live performance. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at the cadences in bars 7, 15 and 23. Close
Added: 25th November, 2022 11:11 AM |
Views : 2620
Bach J.S. Sinfonia 8 BWV 794 arranged for violin & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for violin & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. Download sheet music and piano accompaniments from PlentyMusic.
The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration that can be played at a range of tempi. A violin part is appended to the full sheet music score.
In this arrangement the violinist plays the higher voice 1 whilst the piano player contributes with voices 2 and 3 The soprano saxophone and piano realisation plays back at 80 quarter note or crotchet beats to the minute.
Ornaments have been omitted in the preparing of this music scores although those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the other voices.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 72, 86, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. Rits. are not in place at the cadences in these accompaniments although they might be appropriate in a live performance. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at the cadences in bars 7, 15 and 23. Close
Added: 25th November, 2022 11:11 AM |
Views : 1674
Bach J.S. Sinfonia 8 BWV 794 arranged for soprano saxophone & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve mus Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for soprano saxophone & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. Download sheet music and piano accompaniments from PlentyMusic.
The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration that can be played at a range of tempi. A soprano saxophone part is appended to the full sheet music score.
In this arrangement the soprano saxophonist plays the higher voice 1 whilst the piano player contributes with voices 2 and 3 The soprano saxophone and piano realisation plays back at 80 quarter note or crotchet beats to the minute.
Ornaments have been omitted in the preparing of this music scores although those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the other voices.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 72, 86, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. Rits. are not in place at the cadences in these accompaniments although they might be appropriate in a live performance. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at the cadences in bars 7, 15 and 23. Close
Added: 25th November, 2022 11:11 AM |
Views : 2560
Bach J.S. Sinfonia 8 BWV 794 arranged for oboe & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice r Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for oboe & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. Download sheet music and piano accompaniments from PlentyMusic.
The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration that can be played at a range of tempi. An oboe part is appended to the full sheet music score.
In this arrangement the oboist plays the higher voice 1 whilst the piano player contributes with voices 2 and 3 The oboe and piano realisation plays back at 80 quarter note or crotchet beats to the minute.
Ornaments have been omitted in the preparing of this music scores although those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the other voices.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 72, 86, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. Rits. are not in place at the cadences in these accompaniments although they might be appropriate in a live performance. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at the cadences in bars 7, 15 and 23. Close
Added: 25th November, 2022 09:11 AM |
Views : 2697
Bach J.S. Sinfonia 8 BWV 794 arranged for clarinet in B Flat & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve mu Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for clarinet in B Flat & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. Download sheet music and piano accompaniments from PlentyMusic.
The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration that can be played at a range of tempi. A clarinet in Bb part is appended to the full sheet music score.
In this arrangement the clarinetist plays the higher voice 1 whilst the piano player contributes with voices 2 and 3 The clarinet in Bb and piano realisation plays back at 80 quarter note or crotchet beats to the minute.
Ornaments have been omitted in the preparing of this music scores although those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the other voices.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 72, 86, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. Rits. are not in place at the cadences in these accompaniments although they might be appropriate in a live performance. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at the cadences in bars 7, 15 and 23 Close
Added: 25th November, 2022 09:11 AM |
Views : 2237
Bach J.S. Sinfonia 8 BWV 794 arranged for flute & piano The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice r Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for flute & piano The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. Download sheet music and piano accompaniments from PlentyMusic.
The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration and a movement that can be played at a range of tempi. A flute part is appended to the full sheet music score.
In this arrangement the flute plays the higher voice 1 whilst the piano contributes with voices 2 and 3 The flute and piano realisation plays back at 80 quarter note or crotchet beats to the minute.
Ornaments have been omitted in the preparing of this music scores although those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the other voices.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 72, 86, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 25th November, 2022 08:11 AM |
Views : 3406
F.J. Gossec’s Tambourin arranged for violin and piano. Improve music practice routines by downloading sheet music and piano accompaniments from Ple Show More...
F.J. Gossec’s Tambourin arranged for violin and piano. Improve music practice routines by downloading sheet music and piano accompaniments from PlentyMusic.
A short but very appealing movement ideal as an encore for the competent soloist well warmed up and prepared to engage with the challenges of presenting a concert piece. The choice of tempo, managing the figuration in the section from bars 51-57 and how the melody is articulated especially from bars 80–89 identify just some of the performance challenges and considerations.
The dance element is particular strong in French music and this dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 118 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at as brisk a tempo as possible.
There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals.
A performance piece to challenge players to step up to advanced level standards although rhythmical and articulation aspects can be managed in presenting the movement for performance to an audience.
There are some rhythmic options that can be explored in the section 51- 57
The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semiquavers and demisemiquavers!)
Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch.
A violin part is appended to the full score in the pdf download.
Piano accompaniments are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute.
Gossec was a French composer and pupil of Rameau although little known outside France
He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris.
France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
Added: 14th November, 2022 12:11 PM |
Views : 3648
routines by downloading sheet music and piano accompaniments from PlentyMusic.
A short but very appealing movement ideal as an encore for the compet Show More...
routines by downloading sheet music and piano accompaniments from PlentyMusic.
A short but very appealing movement ideal as an encore for the competent soloist well warmed up and prepared to engage with the challenges of presenting a concert piece. The choice of tempo, managing the figuration in the section from bars 51-57 and how the melody is articulated especially from bars 80–89 identify just some of the performance challenges and considerations.
The dance element is particular strong in French music and this dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 118 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at as brisk a tempo as possible.
There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals.
A performance piece to challenge players to step up to advanced level standards although rhythmical and articulation aspects can be managed in presenting the movement for performance to an audience.
There are some rhythmic options that can be explored in the section 51- 57
The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semiquavers and demisemiquavers!)
Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch.
A trumpet in Bb part is appended to the full score in the pdf download.
Piano accompaniments are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute.
?
Gossec was a French composer and pupil of Rameau although little known outside France
He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris.
France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
Added: 14th November, 2022 12:11 PM |
Views : 2922
F.J. Gossec’s Tambourin arranged for oboe and piano. Improve music practice routines by downloading sheet music and piano accompaniments from Plenty Show More...
F.J. Gossec’s Tambourin arranged for oboe and piano. Improve music practice routines by downloading sheet music and piano accompaniments from PlentyMusic.
A short but very appealing movement ideal as an encore for the competent soloist well warmed up and prepared to engage with the challenges of presenting a concert piece. The choice of tempo, managing the figuration in the section from bars 51-57 and how the melody is articulated especially from bars 80–89 identify just some of the performance challenges and considerations.
The dance element is particular strong in French music and this dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 118 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at as brisk a tempo as possible.
There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals.
A performance piece to challenge players to step up to advanced level standards although rhythmical and articulation aspects can be managed in presenting the movement for performance to an audience.
There are some rhythmic options that can be explored in the section 51-57
The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semiquavers and demisemiquavers!)
Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch.
An oboe part is appended to the full score in the pdf download.
Piano accompaniments are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute.
?
Gossec was a French composer and pupil of Rameau although little known outside France. He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris.
France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
Added: 14th November, 2022 11:11 AM |
Views : 3625
F.J. Gossec’s Tambourin arranged for soprano saxophone and piano. Improve music practice routines by downloading sheet music and piano accompanimen Show More...
F.J. Gossec’s Tambourin arranged for soprano saxophone and piano. Improve music practice routines by downloading sheet music and piano accompaniments from PlentyMusic.
A short but very appealing movement ideal as an encore for the competent soloist well warmed up and prepared to engage with the challenges of presenting a concert piece. The choice of tempo, managing the figuration in the section from bars 51-57 and how the melody is articulated especially from bars 80–89 identify just some of the performance challenges and considerations.
The dance element is particular strong in French music and this dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 118 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at as brisk a tempo as possible.
There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals.
A performance piece to challenge players to step up to advanced level standards although rhythmical and articulation aspects can be managed in presenting the movement for performance to an audience.
There are some rhythmic options that can be explored in the section 51- 57
The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semiquavers and demisemiquavers!)
Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch.
A soprano saxophone part is appended to the full score in the pdf download.
Piano accompaniments are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute.
Gossec was a French composer and pupil of Rameau although little known outside France
He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris.
France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
Added: 14th November, 2022 10:11 AM |
Views : 3913
F.J. Gossec’s Tambourin arranged for flute and piano. Improve music practice routines by downloading sheet music and piano accompaniments from the Show More...
F.J. Gossec’s Tambourin arranged for flute and piano. Improve music practice routines by downloading sheet music and piano accompaniments from the PlentyMusic website.
A short but very appealing movement ideal as an encore for the competent soloist well warmed up and prepared to engage with the challenges of presenting the choice of tempo is concerned.
The dance element is particular strong in French music and this is a dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 118 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at a brisk tempo.
There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals.
A performance piece to challenge players to step up to advanced level standards although rhythmical and articulation aspects can be micro-managed in presenting the movement for performance to an audience
There are some rhythmic options that can be explored in the section 51- 5.7
The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semi quavers and demisemiquavers!)
Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch.
A clarinet in Bb part is appended to the full score in the pdf download.
Piano accompaniments are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute.
Gossec was a French composer and pupil of Rameau although little known outside France
He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris.
France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
Added: 14th November, 2022 10:11 AM |
Views : 3122
F.J. Gossec’s Tambourin arranged for flute and piano. Improve music practice routines by downloading sheet music and piano accompaniments from the P Show More...
F.J. Gossec’s Tambourin arranged for flute and piano. Improve music practice routines by downloading sheet music and piano accompaniments from the PlentyMusic website.
A short but very appealing movement ideal as an encore for the competent soloist well warmed up and prepared to engage with the challenges of presenting the choice of tempo is concerned.
The dance element is particular strong in French music and this is a dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 118 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at a brisk tempo.
There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals.
A performance piece to challenge players to step up to advanced level standards although rhythmical and articulation aspects can be micro-managed in presenting the movement for performance to an audience
There are some rhythmic options that can be explored in the section 51-57.The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semi quavers and demisemiquavers!)
Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch.
A flute part is appended to the full score in the pdf download.
Piano accompaniments are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute.
Gossec was a French composer and pupil of Rameau although little known outside France
He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris.
France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
Added: 14th November, 2022 09:11 AM |
Views : 4214
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 79 Show More...
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790) for trumpet in Bb & piano.
As there is a strong chromatic element in the writing careful attentions needs to be paid to the reading of the notes and particularly the note values in this melancholy movement.
The trumpet in Bb and piano realisation plays back at 42 beats to the minute
This is an excellent ensemble piece for developing good intonation (playing in tune).
No ornaments are indicated in this arrangement. Those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 40, 42, 44 and 46 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 3rd November, 2022 12:11 PM |
Views : 2534
J.S.Bach’s Sinfonias are excellent movements to improve #musicpractice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 79 Show More...
J.S.Bach’s Sinfonias are excellent movements to improve #musicpractice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790) for violin & piano.
As there is a strong chromatic element in the writing careful attentions needs to be paid to the reading of the notes and particularly the note values
The violin and piano realisation plays back at 42 beats to the minute
This is an excellent ensemble piece for developing good intonation (playing in tune).
No ornaments are indicated in this arrangement. Those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 40, 42, 44 and 46 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 3rd November, 2022 08:11 AM |
Views : 2215
Bach J. S. | Sinfonia 4 BWV 790 arr. soprano saxophone and piano
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. Show More...
Bach J. S. | Sinfonia 4 BWV 790 arr. soprano saxophone and piano
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790) for soprano saxophone & piano.
As there is a strong chromatic element in the writing careful attentions needs to be paid to the reading of the notes and particularly the note values in this melancholy movement.
The clarinet in Bb and piano realisation plays back at 42 beats to the minute
This is an excellent ensemble piece for developing good intonation (playing in tune).
No ornaments are indicated in this arrangement. Those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 40, 42, 44 and 46 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 31st October, 2022 21:10 PM |
Views : 2581
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790 Show More...
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790) for clarinet in Bb & piano.
As there is a strong chromatic element in the writing careful attentions needs to be paid to the reading of the notes and particularly the note values in this melancholy movement.
The clarinet in Bb and piano realisation plays back at 42 beats to the minute
This is an excellent ensemble piece for developing good intonation (playing in tune).
No ornaments are indicated in this arrangement. Those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 40, 42, 44 and 46 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 31st October, 2022 20:10 PM |
Views : 2741
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790 Show More...
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790) for oboe & piano.
As there is a strong chromatic element in the writing careful attentions needs to be paid to the reading of the notes and particularly the note values in this melancholy movement.
The oboe and piano realisation plays back at 42 beats to the minute
This is an excellent ensemble piece for developing good intonation (playing in tune).
No ornaments are indicated in this arrangement. Those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 40, 42, 44 and 46 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 31st October, 2022 20:10 PM |
Views : 2749
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 79 Show More...
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790) for flute & piano.
As there is a strong chromatic element in the writing careful attentions needs to be paid to the reading of the notes and particularly the note values in this melancholy movement.
The flute and piano realisation plays back at 42 beats to the minute
This is an excellent ensemble piece for developing good intonation (playing in tune).
No ornaments are indicated in this arrangement. Those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 40, 42, 44 and 46 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 31st October, 2022 15:10 PM |
Views : 2891
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for violin and piano.
The movement should not be played too quickly. The music Show More...
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for violin and piano.
The movement should not be played too quickly. The music editor’s advice is that all playing need to have the clearest of intentions regarding the articulation of the lines and the range of dynamics. Whilst movements need to be played with control there also needs to be a lightness in the playing approach.
Ornaments have not been marked in the score but they can be added by players who are familiar with the performance practice of the time.
Piano accompaniments are available playing at 56, 60, 64 and 68 quarter note or crotchet beats to the minute. The recording quality is 256kbps and a two bar woodblock introduction gives a quarter note or crotchet beat pulse
Players need to understand that the rhythmic shapes in the melody have a strong repetitive element which is familiar characteristic of music from this era.
The tempo of the realisation is 60 quarter note or crotchet beats to the minute. The movement needs to be played with an awareness of a quarter note or crotchet pulse.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution. For all musicians it is important to understand these terms in both a playing and listening context.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 24th October, 2022 11:10 AM |
Views : 2070
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for trumpet in B flat and piano.
The movement should not be played too quickly. Show More...
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for trumpet in B flat and piano.
The movement should not be played too quickly. The music editor’s advice is that all playing need to have the clearest of intentions regarding the articulation of the lines and the range of dynamics. Whilst movements need to be played with control there also needs to be a lightness in the playing approach.
Ornaments have not been marked in the score but they can be added by players who are familiar with the performance practice of the time.
Piano accompaniments are available playing at 56, 60, 64 and 68 quarter note or crotchet beats to the minute. The recording quality is 256kbps and a two bar woodblock introduction gives a quarter note or crotchet beat pulse
Players need to understand that the rhythmic shapes in the melody have a strong repetitive element which is familiar characteristic of music from this era.
The tempo of the realisation is 60 quarter note or crotchet beats to the minute. The movement needs to be played with an awareness of a quarter note or crotchet pulse.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution. For all musicians it is important to understand these terms in both a playing and listening context.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 24th October, 2022 11:10 AM |
Views : 2077
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for soprano saxophone and piano.
The movement should not be played too quickly. Show More...
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for soprano saxophone and piano.
The movement should not be played too quickly. The music editor’s advice is that all playing need to have the clearest of intentions regarding the articulation of the lines and the range of dynamics. Whilst movements need to be played with control there also needs to be a lightness in the playing approach.
Ornaments have not been marked in the sheet music score but they can be added by players who are familiar with the performance practice of the time.
Piano accompaniments are available playing at 56, 60, 64 and 68 quarter note or crotchet beats to the minute. The recording quality is 256kbps and a two bar woodblock introduction gives a quarter note or crotchet beat pulse
Players need to understand that the rhythmic shapes in the melody have a strong repetitive element which is familiar characteristic of music from this era.
The tempo of the realisation is 60 quarter note or crotchet beats to the minute. The movement needs to be played with an awareness of a quarter note or crotchet pulse.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution. For all musicians it is important to understand these terms in both a playing and listening context.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 24th October, 2022 11:10 AM |
Views : 2293
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for oboe and piano.
The movement should not be played too quickly. The music edi Show More...
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for oboe and piano.
The movement should not be played too quickly. The music editor’s advice is that all playing need to have the clearest of intentions regarding the articulation of the lines and the range of dynamics. Whilst movements need to be played with control there also needs to be a lightness in the playing approach.
Ornaments have not been marked in the score but they can be added by players who are familiar with the performance practice of the time.
Piano accompaniments are available playing at 56, 60, 64 and 68 quarter note or crotchet beats to the minute. The recording quality is 256kbps and a two bar woodblock introduction gives a quarter note or crotchet beat pulse
Players need to understand that the rhythmic shapes in the melody have a strong repetitive element which is familiar characteristic of music from this era.
The tempo of the realisation is 60 quarter note or crotchet beats to the minute. The movement needs to be played with an awareness of a quarter note or crotchet pulse.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution. For all musicians it is important to understand these terms in both a playing and listening context.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 24th October, 2022 11:10 AM |
Views : 1818
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for clarinet in Bb and piano.
The movement should not be played too quickly. Th Show More...
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for clarinet in Bb and piano.
The movement should not be played too quickly. The music editor’s advice is that all playing need to have the clearest of intentions with regard to the articulation of the lines and the range of dynamics. Whilst movements need to be played with control there also needs to be a lightness in the playing approach.
Ornaments have not been marked in the score but they can be added by players who are familiar with the performance practice of the time.
Piano accompaniments are available playing at 56, 60, 64 and 68 quarter note or crotchet beats to the minute. The recording quality is 256kbps and a two bar woodblock introduction gives a quarter note or crotchet beat pulse
Players need to understand that the rhythmic shapes in the melody have a strong repetitive element which is familiar characteristic of music from this era.
The tempo of the realisation is 60 quarter note or crotchet beats to the minute. The movement needs to be played, with an awareness of a quarter note or crotchet pulse.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution. For all musicians it is important to understand these terms in both a playing and listening context.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 24th October, 2022 10:10 AM |
Views : 2220
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for flute and piano.
The movement should not be played too quickly. The music e Show More...
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for flute and piano.
The movement should not be played too quickly. The music editor’s advice is that all playing need to have the clearest of intentions with regard to the articulation of the lines and the range of dynamics. Whilst movements need to be played with control there also needs to be a lightness in the playing approach.
Ornaments have not been marked in the score but they can be added by players who are familiar with the performance practice of the time.
Piano accompaniments are available playing at 56, 60, 64 and 68 quarter note or crotchet beats to the minute. The recording quality is 256kbps and a two bar woodblock introduction gives a quarter note or crotchet beat pulse
Players need to understand that the rhythmic shapes in the melody have a strong repetitive element which is familiar characteristic of music from this era.
The tempo of the realisation is 60 quarter note or crotchet beats to the minute. The movement needs to be played, with an awareness of a quarter note or crotchet pulse.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution. For all musicians it is important to understand these terms in both a playing and listening context.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 24th October, 2022 09:10 AM |
Views : 2291
This intermediate level arrangement of Rheinberger’s Cantilene for bassoon with piano accompaniment is available with mp3 piano accompaniments. A ba Show More...
This intermediate level arrangement of Rheinberger’s Cantilene for bassoon with piano accompaniment is available with mp3 piano accompaniments. A bassoon part is appended to the full score available as a pdf download. Piano accompaniments are also available playing at 80, 84 and 88 eighth (quaver) note beats to the minute. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Instrumentalists should play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts and open to different interpretation. The small ornamental notes do not always sound in realisations and are best omitted whilst the movement is being studied. Cantilena is an Italian/Latin word suggesting both lullaby and song. A movement that is intended to be played quietly in a sustained approach. The melody and inner parts need to be played with a legato whilst the bass line is played with a detached or staccato touch. This is an excellent movement for developing good intonation in ensemble playing. The pianist may wish to add some sustaining pedal although its use is not indicated in the sheet music score. The accompaniment could also be played on the organ creating a very different interpretation. The melody explores several rhythmic motifs often featuring tied notes. Much of the writing features off-beat rhythms related to the resolving of the dissonances in the inner parts. The influence of the Bach 4 part chorale harmonisation is paramount together with the chromatic harmony that can be readily identified in the music of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniment. Close
Added: 6th April, 2022 15:04 PM |
Views : 1956
This intermediate level arrangement of Rheinberger’s Cantilene is scored for oboe with piano accompaniment. An oboe part is appended to the full sco Show More...
This intermediate level arrangement of Rheinberger’s Cantilene is scored for oboe with piano accompaniment. An oboe part is appended to the full score available as a pdf download. Piano accompaniments are available playing at 80, 84 and 88 eighth (quaver) note beats to the minute. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Players should play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts. The small ornamental notes do not always sound in realisations and are best omitted whilst the movement is being studied. Cantilena is an Italian/Latin word suggesting both lullaby and song. A movement that is intended to be played quietly in a sustained approach. The melody and inner parts need to be played with a legato whilst the bass line is played with a detached or staccato touch. This is an excellent movement for developing good intonation in ensemble playing. The pianist may wish to add some sustaining pedal although its use is not indicated in the sheet music score. The accompaniment could also be played on the organ. The melody explores several rhythmic motifs often featuring tied notes. Much of the writing features off-beat rhythms related to the resolving of the dissonances in the inner parts. The influence of the Bach 4 part chorale harmonisation is paramount together with the chromatic harmony that can be readily identified in the music of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniment. Close
Added: 5th April, 2022 14:04 PM |
Views : 2774
This arrangement of Rheinberger’s Cantilene for clarinet in B flat with piano accompaniment is available with mp3 piano accompaniments. A clarinet p Show More...
This arrangement of Rheinberger’s Cantilene for clarinet in B flat with piano accompaniment is available with mp3 piano accompaniments. A clarinet part is appended to the full score available as a pdf download. Piano accompaniments are also available playing at 80, 84 and 88 eighth (quaver) note beats to the minute Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Instrumentalists should play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts. The small ornamental notes do not always sound in realisations and are best omitted whilst the movement is being studied. Cantilena is an Italian/Latin word suggesting both lullaby and song. A movement that is intended to be played quietly in a sustained approach. The melody and inner parts need to be played with a legato whilst the bass line is played with a detached or staccato touch. This is an excellent movement for developing good intonation in ensemble playing. The pianist may wish to add some sustaining pedal although its use is not indicated in the sheet music score. The accompaniment could also be played on the organ. The melody explores several rhythmic motifs often featuring tied notes. Much of the writing features off-beat rhythms related to the resolving of the dissonances in the inner parts. The influence of the Bach 4 part chorale harmonisation is paramount together with the chromatic harmony that can be readily identified in the music of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniment. Close
Added: 4th April, 2022 08:04 AM |
Views : 2598
This arrangement of Rheinberger’s Cantilene for flute with piano accompaniment is available with mp3 piano accompaniments. Rheinberger was a prolifi Show More...
This arrangement of Rheinberger’s Cantilene for flute with piano accompaniment is available with mp3 piano accompaniments. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. The arrangement is scored for flute with piano accompaniment whilst a flute part is appended to the full score available on the pdf download. Piano accompaniments are also available playing at 80, 84 and 88 eighth (quaver) note beats to the minute. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Players should play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts. The small ornamental notes do not always sound in realisations and are best omitted whilst the movement is being studied. Cantilena is an Italian/Latin word suggesting both lullaby and song. A movement that is intended to be played quietly in a sustained approach.The melody and inner parts need to be played with a legato whilst the bass line is played with a detached or staccato touch. This is an excellent movement for developing good intonation in ensemble playing. The pianist may wish to add some sustaining pedal although its use is not indicated in the sheet music score. The accompaniment could also be played on the organ. The melody explores several rhythmic motifs often featuring tied notes. Much of the writing features off-beat rhythms related to the resolving of the dissonances in the inner parts. The influence of the Bach 4 part chorale harmonisation is paramount together with the chromatic harmony that can be readily identified in the music of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniment. Close
Added: 2nd April, 2022 12:04 PM |
Views : 2301
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for trumpet in B flat with piano accompaniment sounding in the key of D minor. A trumpet Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for trumpet in B flat with piano accompaniment sounding in the key of D minor. A trumpet in B flat part appropriately transposed is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 19th February, 2022 11:02 AM |
Views : 2589
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for trombone with piano accompaniment sounding in the key of G minor. A trombone part is Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for trombone with piano accompaniment sounding in the key of G minor. A trombone part is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 47|94|47 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 19th February, 2022 11:02 AM |
Views : 2604
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for baritone saxophone with piano accompaniment sounding in the key of D minor. A barito Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for baritone saxophone with piano accompaniment sounding in the key of D minor. A baritone saxophone part appropriately transposed is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 47|94|47 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 19th February, 2022 11:02 AM |
Views : 2599
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for tenor saxophone with piano accompaniment sounding in the key of Gm minor. A tenor sa Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for tenor saxophone with piano accompaniment sounding in the key of Gm minor. A tenor saxophone part appropriately transposed is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 47|94|47 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 19th February, 2022 11:02 AM |
Views : 2790
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for alto saxophone with piano accompaniment sounding in the key of D minor. An saxophone Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for alto saxophone with piano accompaniment sounding in the key of D minor. An saxophone part appropriately transposed is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 19th February, 2022 10:02 AM |
Views : 2722
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for soprano saxophone with piano accompaniment sounding in the key of D minor. A soprano Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for soprano saxophone with piano accompaniment sounding in the key of D minor. A soprano saxophone part appropriately transposed is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 19th February, 2022 09:02 AM |
Views : 2582
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for cello with piano accompaniment in the key of E minor. A cello part is appended to th Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for cello with piano accompaniment in the key of E minor. A cello part is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 47|94|47 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 19th February, 2022 09:02 AM |
Views : 2745
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for viola with piano accompaniment in the key of E minor. A viola part is appended to th Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for viola with piano accompaniment in the key of E minor. A viola part is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 19th February, 2022 09:02 AM |
Views : 2572
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for violin with piano accompaniment in the key of E minor. A violin part is appended to Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for violin with piano accompaniment in the key of E minor. A violin part is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 19th February, 2022 08:02 AM |
Views : 2545
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for oboe with piano accompaniment in the key of E minor.Piano accompaniments are availabl Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for oboe with piano accompaniment in the key of E minor.Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. An oboe part is appended to the full score which is available as a pdf. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 19th February, 2022 08:02 AM |
Views : 2073
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for bassoon with piano accompaniment in the key of G minor. Piano accompaniments are avai Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for bassoon with piano accompaniment in the key of G minor. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. A bassoon part appropriately transposed is appended to the full score which is available as a pdf. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 47|94|47 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 18th February, 2022 20:02 PM |
Views : 2787
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for clarinet with piano accompaniment in the key of D minor. A clarinet part appropriate Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for clarinet with piano accompaniment in the key of D minor. A clarinet part appropriately transposed is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 18th February, 2022 19:02 PM |
Views : 2931
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for flute with piano accompaniment. A flute part is appended to the full score which is a Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for flute with piano accompaniment. A flute part is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 18th February, 2022 18:02 PM |
Views : 2823
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for violin playing at the higher octave and piano Gounod’s melody is playe Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for violin playing at the higher octave and piano Gounod’s melody is played by the violinist while the Bach Prelude No. 1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to over use the pedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 15th December, 2021 16:12 PM |
Views : 2751
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for violin playing at the lower octave and piano Gounod’s melody is played Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for violin playing at the lower octave and piano Gounod’s melody is played by the violinist while the Bach Prelude No. 1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 15th December, 2021 16:12 PM |
Views : 3014
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for viola and piano Gounod’s melody is played by the violist while the Bac Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for viola and piano Gounod’s melody is played by the violist while the Bach Prelude No. 1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 15th December, 2021 14:12 PM |
Views : 3221
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for cello and piano Gounod’s melody is played by the cellist while the Bac Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for cello and piano Gounod’s melody is played by the cellist while the Bach Prelude No. 1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 15th December, 2021 13:12 PM |
Views : 3119
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for trumpet in Bb and piano Gounod’s melody is played on the trumpet playe Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for trumpet in Bb and piano Gounod’s melody is played on the trumpet player while the Bach Prelude No. 1 is played by the pianist. The music has been transposed to the key of F. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 15th December, 2021 12:12 PM |
Views : 3368
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for French horn and piano Gounod’s melody is played on the French horn pla Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for French horn and piano Gounod’s melody is played on the French horn player while the Bach Prelude No.1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 15th December, 2021 12:12 PM |
Views : 2773
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for tuba and piano Gounod’s melody is played on the tuba while the Bach Pr Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for tuba and piano Gounod’s melody is played on the tuba while the Bach Prelude No.1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 15th December, 2021 12:12 PM |
Views : 3098
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for bass trombone and piano Gounod’s melody is played on by the bass tromb Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for bass trombone and piano Gounod’s melody is played on by the bass trombone player while the Bach Prelude No.1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 15th December, 2021 11:12 AM |
Views : 3196
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for trombone and piano Gounod’s melody is played by the trombone player w Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for trombone and piano Gounod’s melody is played by the trombone player while the Bach Prelude No. 1 is played by the pianist. The music has been transposed to the key of G. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 15th December, 2021 11:12 AM |
Views : 3106
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for tenor horn and piano Gounod’s melody is played on by the tenor player Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for tenor horn and piano Gounod’s melody is played on by the tenor player while the Bach Prelude No. 1 is played by the pianist. The music has been transposed to the key of Bb. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 15th December, 2021 10:12 AM |
Views : 3746
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for baritone horn and piano Gounod’s melody is played on by the baritone p Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for baritone horn and piano Gounod’s melody is played on by the baritone player while the Bach Prelude No. 1 is played by the pianist. The music has been transposed to the key of F. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 14th December, 2021 13:12 PM |
Views : 2645
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for English horn (cor anglais) and piano Gounod’s melody is played on the Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for English horn (cor anglais) and piano Gounod’s melody is played on the English horn while the Bach Prelude No. 1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude in C which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 13th December, 2021 17:12 PM |
Views : 3035
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for baritone saxophone and piano Gounod’s melody is played by the baritone Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for baritone saxophone and piano Gounod’s melody is played by the baritone saxophonist while the Bach Prelude No. 1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude in C which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 13th December, 2021 13:12 PM |
Views : 3091
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for tenor saxophone and piano Gounod’s melody is played by the tenor saxop Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for tenor saxophone and piano Gounod’s melody is played by the tenor saxophonist while the Bach Prelude No. 1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude in C which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 13th December, 2021 13:12 PM |
Views : 3187
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for alto saxophone and piano Gounod’s melody is played by the alto saxopho Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for alto saxophone and piano Gounod’s melody is played by the alto saxophonist while the Bach Prelude No. 1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude in C which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 13th December, 2021 12:12 PM |
Views : 3138
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for soprano saxophone and piano Gounod’s melody is played by the soprano s Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for soprano saxophone and piano Gounod’s melody is played by the soprano saxophonist while the Bach Prelude No. 1 is played by the pianist. The music has been transposed to the Key of F which is more appropriate in respect to the pitch range of the soprano saxophone. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude in C which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 13th December, 2021 12:12 PM |
Views : 2845
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for bassoon and piano Gounod’s melody is played by the bassoonist while th Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for bassoon and piano Gounod’s melody is played by the bassoonist while the Bach Prelude No. 1 is played by the pianist. The music is in the key of C and the bassoon part is notated in the tenor clef. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences, performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 8th December, 2021 14:12 PM |
Views : 3081
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for bassoon and piano Gounod’s melody is played by the bassoonist while t Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for bassoon and piano Gounod’s melody is played by the bassoonist while the Bach Prelude No. 1 is played by the pianist. The music has been transposed from the key of C to F which is more suitable key in respect to exploring the range of the bassoon. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences, performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 8th December, 2021 14:12 PM |
Views : 3075
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for clarinet in Bb and piano Gounod’s melody is played by the clarinetist Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for clarinet in Bb and piano Gounod’s melody is played by the clarinetist while the Bach Prelude No. 1 is played by the pianist. The music has been transposed from the key of C to F which is more suitable key in respect to exploring the range of the clarinet. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude in C which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences, performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 8th December, 2021 11:12 AM |
Views : 3113
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for oboe and piano Gounod’s melody is played by the oboist while the Bach Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for oboe and piano Gounod’s melody is played by the oboist while the Bach Prelude No. 1 is played by the pianist. The music has been transposed from the key of C to G which is more suitable key in respect to exploring the best instrumental range of the oboe. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude in C which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view not that any are indicated in the PlentyMusic score. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are also as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences, performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 7th December, 2021 09:12 AM |
Views : 3011
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for flute and piano Gounod’s melody is played by the flautist while the Ba Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for flute and piano Gounod’s melody is played by the flautist while the Bach Prelude No. 1 is played by the pianist. The music has is in the key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude in C which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long. Gounod’s melody if time allows should be internalised by the flautists so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to over use the pedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 6th December, 2021 16:12 PM |
Views : 3020
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for trombone and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung, particularly for weddings, make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 32 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling trombonists to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 15th November, 2021 16:11 PM |
Views : 3859
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for trumpet in Bb and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung, particularly for weddings, nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling trumpet players to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 15th November, 2021 12:11 PM |
Views : 3553
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for French horn (horn in F) and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung, particularly for weddings, nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the sheet music score score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling horn players to enjoy an ensemble experience as part of their daily practice routine. They play at 32, 36, and 40 quarter (crotchet) beats to the minute and are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 15th November, 2021 09:11 AM |
Views : 3785
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for cello and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung, particularly for weddings, nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling cellists players to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. In this instance cellists players have the option of playing through the repeat an octave higher. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 14th November, 2021 18:11 PM |
Views : 3758
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for violin and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung, particularly for weddings, nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling violinists players to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. In this instance violinists players have the option of playing through the repeat an octave higher. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 14th November, 2021 17:11 PM |
Views : 4576
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825. This intermediate level arrangement from PlentyMus Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825. This intermediate level arrangement from PlentyMusic is for viola and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling violists to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. In this instance violists have the option of playing through the repeat an octave higher. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 14th November, 2021 14:11 PM |
Views : 3814
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for baritone saxophone and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling baritone saxophone players to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Baritone players have the option of playing the repeat at the octave. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 9th November, 2021 09:11 AM |
Views : 3213
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825. This intermediate level arrangement from PlentyMus Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825. This intermediate level arrangement from PlentyMusic is for tenor saxophone and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling tenor saxophone players to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 9th November, 2021 08:11 AM |
Views : 3498
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for alto saxophone and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling alto saxophone players to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 8th November, 2021 13:11 PM |
Views : 3597
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for soprano saxophone and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling soprano saxophone players to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 8th November, 2021 12:11 PM |
Views : 3378
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for English horn and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's "Ave Maria" can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling English horn players to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. English horn players have the options of playing the repeat at the octave. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 7th November, 2021 16:11 PM |
Views : 4969
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825. This intermediate/ advanced level arrangement from Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825. This intermediate/ advanced level arrangement from PlentyMusic is for tuba and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling tuba players to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 7th November, 2021 13:11 PM |
Views : 4449
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for trumpet in Bb and piano is in the key Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for trumpet in Bb and piano is in the key of E minor and features the Cuban habanera pattern. A trumpet in Bb is appended to the full music score on the pdf download. Piano accompaniments are also available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 6th November, 2021 16:11 PM |
Views : 3113
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for alto saxophone and piano is in the ke Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for alto saxophone and piano is in the key of A minor and features the Cuban habanera pattern. An alto saxophone part is appended to the full music score on the pdf available to download. Piano accompaniments are also available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 6th November, 2021 13:11 PM |
Views : 3179
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for oboe and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling oboists to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 6th November, 2021 13:11 PM |
Views : 3509
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for bassoon and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling bassoonists to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 6th November, 2021 11:11 AM |
Views : 3393
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediatelevel arrangement from PlentyMusic Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediatelevel arrangement from PlentyMusic is for clarinet in Bb and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling clarinetists to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 5th November, 2021 13:11 PM |
Views : 3430
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for baritone saxophone and piano is in th Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for baritone saxophone and piano is in the key of A minor and features the Cuban habanera pattern. A baritone saxophone part is appended to the full music score on the pdf available to download. Piano accompaniments are also available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 64 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 22nd October, 2021 11:10 AM |
Views : 3203
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for tenor saxophone and piano is in the k Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for tenor saxophone and piano is in the key of A minor and features the Cuban habanera pattern. A tenor saxophone part is appended to the full music score on the pdf available to download. Piano accompaniments are also available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 21st October, 2021 16:10 PM |
Views : 3307
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for violin and piano is in the original k Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for violin and piano is in the original key of E minor and features the Cuban habanera pattern. A violin part is appended to the full music score. Piano accompaniments are available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 21st October, 2021 11:10 AM |
Views : 3067
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for cello and piano is in the original ke Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for cello and piano is in the original key of E minor and features the Cuban habanera pattern. A cello part is appended to the full music score. Piano accompaniments are available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 21st October, 2021 11:10 AM |
Views : 3244
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for oboe and piano is in the key of A min Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for oboe and piano is in the key of A minor and features the Cuban habanera pattern. An oboe part is appended to the full music score. Piano accompaniments are available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 20th October, 2021 15:10 PM |
Views : 3039
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for viola and piano is in the key of A mi Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for viola and piano is in the key of A minor and features the Cuban habanera pattern. A viola part is appended to the full music score. Piano accompaniments are available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 20th October, 2021 13:10 PM |
Views : 4023
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for trombone and piano is in the key of E Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for trombone and piano is in the key of E minor and features the Cuban habanera pattern. A trombone part is appended to the full music score. Piano accompaniments are available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 19th October, 2021 16:10 PM |
Views : 3045
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for English horn (cor anglais) and piano Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for English horn (cor anglais) and piano is in the key of E minor and features the Cuban habanera pattern. An English horn part, appropriately transposed, is appended to the full music score. Piano accompaniments are available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 19th October, 2021 16:10 PM |
Views : 3338
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for soprano saxophpne and piano is in the Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for soprano saxophpne and piano is in the key of E minor and features the Cuban habanera pattern. A soprano saxophone part is appended to the full music score. Piano accompaniments are available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument.
Most of Cervantes movements are very short and benefit from being played through twice.
The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 18th October, 2021 16:10 PM |
Views : 3338
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for bassoon and piano is in the key of Am Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for bassoon and piano is in the key of Am and features the Cuban habanera pattern. The music has been transposed from the original key of E minor to A minor whilst a bassoon part is appended to the full music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece.The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument.
Most of Cervantes movements are very short and benefit from being played through twice.
The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly with regard to tempo and the use of rubato (speeding up and slowing down) and does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Piano accompaniments are available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 17th October, 2021 17:10 PM |
Views : 2875
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for clarinet in Bb and piano sounds in th Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for clarinet in Bb and piano sounds in the key of E minor and features the Cuban habanera pattern. The music is in the original key of E minor whilst a clarinet in Bb part appropriately transposed is appended to the full music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play absolutely together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument.
Most of Cervantes movements are very short and benefit from being played through twice.
The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly with regard to tempo and the use of rubato (speeding up and slowing down) and does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Piano accompaniments are available playing at 66, 68, 70, 72 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that a repeat marking is not shown in the sheet music score. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 17th October, 2021 16:10 PM |
Views : 3380
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for flute accompanied by piano is in the Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for flute accompanied by piano is in the key of Am and features the Cuban habanera pattern. The music has been transposed from the original key of E minor to A minor and a flute part is appended to the full music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play absolutely together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in what are strong contrapuntal lines. Where appropriate some octave transpositions have been made in the solo melody line to keep to the best and most appropriate range for the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared.The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly with regard to tempo and the use of rubato (speeding up and slowing down) and does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Piano accompaniments are available playing at 66, 68, 70, 72 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Please note that a repeat marking is not shown in the sheet music score. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 16th October, 2021 13:10 PM |
Views : 2658
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for oboe and piano enables players to develop tone, art Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for oboe and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for oboe accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to A minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 8th October, 2021 14:10 PM |
Views : 3103
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for soprano saxophone and piano enables players to deve Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for soprano saxophone and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for soprano saxophone accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 80 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to G minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 8th October, 2021 14:10 PM |
Views : 3174
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for tenor saxophone and piano enables players to develo Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for tenor saxophone and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for tenor saxophone accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 80 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to G minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 8th October, 2021 13:10 PM |
Views : 3339
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for baritone saxophone and piano enables players to dev Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for baritone saxophone and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for baritone saxophone accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to A minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 8th October, 2021 09:10 AM |
Views : 3098
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for violin and piano enables players to develop tone, a Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for violin and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for violin accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 80 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music is in the original key of E minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 8th October, 2021 08:10 AM |
Views : 3743
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for marimba) and piano enables players to develop a sen Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for marimba) and piano enables players to develop a sense of ensemble in their playing. The arrangement is scored for marimba accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 80 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to A minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 8th October, 2021 08:10 AM |
Views : 4477
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for trumpet in Bb and piano enables players to develop Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for trumpet in Bb and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for trumpet in Bb accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 80 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to G minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 8th October, 2021 08:10 AM |
Views : 3405
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for horn in F (French horn) and piano enables players t Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for horn in F (French horn) and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for horn in F (French horn) accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 80 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to A minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 8th October, 2021 08:10 AM |
Views : 2624
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for trombone and piano enables players to develop tone, Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for trombone and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for trombone accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 80 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to Gm minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 8th October, 2021 07:10 AM |
Views : 2977
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for English horn and piano enables players to develop Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for English horn and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for English horn accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 80 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to Am minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 7th October, 2021 11:10 AM |
Views : 3328
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for alto saxophone and piano enables saxophonists to de Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for alto saxophone and piano enables saxophonists to develop tone, articulation and dynamic range in their playing. The arrangement is scored for viola accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to Am minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 7th October, 2021 08:10 AM |
Views : 3566
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for cello and piano enables cellists to develop tone, a Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for cello and piano enables cellists to develop tone, articulation and dynamic range in their playing. The arrangement is scored for cello accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music is in the original key for the work E minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 6th October, 2021 12:10 PM |
Views : 3394
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for viola and piano enables viola players to develop to Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for viola and piano enables viola players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for viola accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to Am minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 6th October, 2021 11:10 AM |
Views : 3344
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for bassoon and piano enables bassoon players to develo Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for bassoon and piano enables bassoon players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for bassoon accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to G minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 5th October, 2021 12:10 PM |
Views : 3081
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for clarinet in Bb and piano enables clarinet players t Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for clarinet in Bb and piano enables clarinet players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for clarinet in Bb accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to G minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 5th October, 2021 11:10 AM |
Views : 3228
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for flute and piano enables flute players to develop to Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for flute and piano enables flute players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for flute accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to A minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 5th October, 2021 09:10 AM |
Views : 3193
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for cello with piano accompanim Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for cello with piano accompaniment. It features many of the rhythmic shapes that feature in Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. The solo instrumental part is appended to the full music score which can be downloaded as a pdf. Piano accompaniments are available playing at tempi of 56, 58 and 60 quarter note (crotchet) beats to the minute and can be downloaded as mp3 files recorded at 256kbps quality. Close
Added: 31st August, 2021 08:08 AM |
Views : 3392
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for viola with piano accompanim Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for viola with piano accompaniment. It features many of the rhythmic shapes that feature in Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. The solo Instrumental part is appended to the full music score which can be downloaded as a pdf. Piano accompaniments are available playing at tempi of 56, 58 and 60 quarter note (crotchet) beats to the minute and can be downloaded as mp3 files recorded at 256kbps quality. Close
Added: 31st August, 2021 08:08 AM |
Views : 3574
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for violin with piano accompani Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for violin with piano accompaniment. It features many of the rhythmic shapes that feature in Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. The solo Instrumental part is appended to the full music score which can be downloaded as a pdf. Piano accompaniments are available playing at tempi of 56, 58 and 60 quarter note (crotchet) beats to the minute and can be downloaded as mp3 files recorded at 256kbps quality. Close
Added: 31st August, 2021 08:08 AM |
Views : 3022
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for soprano saxophone with pian Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for soprano saxophone with piano accompaniment. It features many of the rhythmic shapes that feature in Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. The solo Instrumental part is appended to the full music score which can be downloaded as a pdf. Piano accompaniments are available playing at tempi of 56, 58 and 60 quarter note (crotchet) beats to the minute and can be downloaded as mp3 files recorded at 256kbps quality. Close
Added: 31st August, 2021 07:08 AM |
Views : 3174
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for tenor saxophone with piano Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for tenor saxophone with piano accompaniment. It features many of the rhythmic shapes that feature in Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. The solo Instrumental part is appended to the full music score which can be downloaded as a pdf. Piano accompaniments are available playing at tempi of 56, 58 and 60 quarter note (crotchet) beats to the minute and can be downloaded as mp3 files recorded at 256kbps quality. Close
Added: 31st August, 2021 07:08 AM |
Views : 3178
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for alto saxophone with piano a Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for alto saxophone with piano accompaniment. It features many of the rhythmic shapes that feature in Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. The solo Instrumental part is appended to the full music score which can be downloaded as a pdf. Piano accompaniments are available playing at tempi of 56, 58 and 60 quarter note (crotchet) beats to the minute and can be downloaded as mp3 files recorded at 256kbps quality. Close
Added: 29th August, 2021 18:08 PM |
Views : 3307
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for bassoon with piano accompan Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for bassoon with piano accompaniment. It features many of the rhythmic shapes that feature in Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. The solo Instrumental part is appended to the full music score which can be downloaded as a pdf. Piano accompaniments are available playing at tempi of 56, 58 and 60 quarter note (crotchet) beats to the minute and can be downloaded as mp3 files recorded at 256kbps quality. Close
Added: 29th August, 2021 16:08 PM |
Views : 3008
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for clarinet in Bb with piano a Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for clarinet in Bb with piano accompaniment. It features many of the rhythmic shapes that feature in Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. The solo Instrumental part is appended to the full music score which can be downloaded as a pdf. Piano accompaniments are available playing at tempi of 56, 58 and 60 quarter note (crotchet) beats to the minute and can be downloaded as mp3 files recorded at 256kbps quality. Close
Added: 29th August, 2021 16:08 PM |
Views : 3234
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for oboe with piano accompanime Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for oboe with piano accompaniment. It features many of the rhythmic shapes that feature in Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. The solo Instrumental part is appended to the full music score which can be downloaded as a pdf. Piano accompaniments are available playing at tempi of 56, 58 and 60 quarter note (crotchet) beats to the minute and can be downloaded as mp3 files recorded at 256kbps quality. Close
Added: 29th August, 2021 16:08 PM |
Views : 3020
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for flute with piano accompanim Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for flute with piano accompaniment. It features many of the rhythmic patterns characteristic of Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. The solo Instrumental part is appended to the full music score which can be downloaded as a pdf. Piano accompaniments are available playing at tempi of 56, 58 and 60 quarter note (crotchet) beats to the minute and can be downloaded as mp3 files recorded at 256kbps quality. Close
Added: 29th August, 2021 14:08 PM |
Views : 3081
The Minuet and Trio in Eb by Franz Schubert is an excellent performance piece and this intermediate level arrangement for soprano saxophone with piano Show More...
The Minuet and Trio in Eb by Franz Schubert is an excellent performance piece and this intermediate level arrangement for soprano saxophone with piano accompaniment is available from PlentyMusic. Piano accompaniments are also available. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the music scores is 120 quarter note beats to the bar whilst the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations and players would be wise to explore the question and answer aspect of this piece. The movement originates as a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. A soprano saxophone part is appended to the full score which can download from the website. Close
Added: 6th August, 2021 07:08 AM |
Views : 2931
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this intermediate level arrangement for violin with piano accompanime Show More...
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this intermediate level arrangement for violin with piano accompaniment is available to download available from PlentyMusic. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the music scores is 120 quarter note beats to the bar whilst the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations and players would be wise to explore the question and answer aspect of this piece. The movement originates as a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. A violin part is appended to the full score which is available as a pdf download from PlentyMusic. Close
Added: 6th August, 2021 06:08 AM |
Views : 2814
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this is an intermediate level arrangement for clarinet in A with pia Show More...
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this is an intermediate level arrangement for clarinet in A with piano accompaniment. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. A clarinet in A part appropriately transposed is appended to the full score which can be downloaded as pdf file from the PlentyMusic website. Three piano accompaniments playing at 112, 116 and 120 quarter note (crotchet) beats to the minute are also available enabling players to incorporate ensemble playing into their practice routines. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the flute and piano realisation is 120 quarter note beats to the bar whilst both the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. The movement was originally a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small ornamental notes in bar 41 do not sound in the realisation and possibly are best not added until the movement can be played competently. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Close
Added: 5th August, 2021 17:08 PM |
Views : 2831
The Minuet and Trio in Eb by Franz Schubert is an excellent performance piece and this intermediate level arrangement for baritone saxophone with pian Show More...
The Minuet and Trio in Eb by Franz Schubert is an excellent performance piece and this intermediate level arrangement for baritone saxophone with piano accompaniment is available from PlentyMusic. Piano accompaniments are also available. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the music scores is 120 quarter note beats to the bar whilst the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations and players would be wise to explore the question and answer aspect of this piece. The movement originates as a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. A baritone saxophone part is appended to the full score which can download from the website. Close
Added: 5th August, 2021 17:08 PM |
Views : 3031
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this intermediate level arrangement for bassoon with piano accompanim Show More...
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this intermediate level arrangement for bassoon with piano accompaniment is available from PlentyMusic. Piano accompaniments are also available. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the music scores is 120 quarter note beats to the bar whilst the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations and players would be wise to explore the question and answer aspect of this piece. The movement originates as a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. A bassoon part is appended to the full score which can download from the website. Close
Added: 5th August, 2021 15:08 PM |
Views : 2555
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this intermediate level arrangement for cello with piano accompanimen Show More...
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this intermediate level arrangement for cello with piano accompaniment is available to download from PlentyMusic. A cello part is also appended to the full score. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the music scores is 120 quarter note beats to the bar whilst the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations and players would be wise to explore the question and answer aspect of this piece. The movement originates as a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Close
Added: 5th August, 2021 13:08 PM |
Views : 2950
The Minuet and Trio in E Flat D.335 by Franz Schubert is an excellent intermediate level performance piece. This arrangement is for tenor saxophone wi Show More...
The Minuet and Trio in E Flat D.335 by Franz Schubert is an excellent intermediate level performance piece. This arrangement is for tenor saxophone with piano accompaniment. A tenor saxophone part is also appended to the full score. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. A clarinet in Bb part appropriately transposed is appended to the full score which can be downloaded as pdf file from the PlentyMusic website. Three piano accompaniments playing at 112, 116 and 120 quarter note (crotchet) beats to the minute are also available enabling players to incorporate ensemble playing into their practice routines. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the flute and piano realisation is 120 quarter note beats to the bar whilst both the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. The movement was originally a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small ornamental notes in bar 41 do not sound in the realisation and possibly are best not added until the movement can be played competently. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles Close
Added: 5th August, 2021 09:08 AM |
Views : 2952
The Minuet and Trio in E Flat by Franz Schubert is an excellent performance piece and this arrangement for clarinet in Bb and piano is at the intermed Show More...
The Minuet and Trio in E Flat by Franz Schubert is an excellent performance piece and this arrangement for clarinet in Bb and piano is at the intermediate level work. A cello part is appended to the full score that is available for download from PlentyMusic. Whilst described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. A clarinet in Bb part appropriately transposed is appended to the full score which can be downloaded as pdf file from the PlentyMusic website. Three piano accompaniments playing at 112, 116 and 120 quarter note (crotchet) beats to the minute are also available enabling players to incorporate ensemble playing into their practice routines. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the flute and piano realisation is 120 quarter note beats to the bar whilst both the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. The movement was originally a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small ornamental notes in bar 41 do not sound in the realisation and possibly are best not added until the movement can be played competently. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Close
Added: 4th August, 2021 18:08 PM |
Views : 2956
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this arrangement for flute and piano is an intermediate level work. Show More...
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this arrangement for flute and piano is an intermediate level work. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. A flute part is appended to the full score which can be downloaded as pdf file from the PlentyMusic website. Three piano accompaniments playing at 112, 116 and 120 quarter note (crotchet) beats to the minute are also available enabling players to incorporate ensemble playing into their practice routines. In a performance the Minuet and Trio should be performed as follows Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the chamber music scores is 120 quarter note beats to the bar whilst both the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. The movement was originally a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small ornamental notes in bar 41 do not sound in the realisation and possibly are best not added until the movement can be played competently. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Close
Added: 4th August, 2021 10:08 AM |
Views : 3266
Schubert’s Minuet in A D.334 is a hidden gem of the music repertoire and needs to played to become better known by instrument players and audiences. Show More...
Schubert’s Minuet in A D.334 is a hidden gem of the music repertoire and needs to played to become better known by instrument players and audiences. An ideal concert even encore movement, there are many arrangements to be discovered on the PlentyMusic website.The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score whilst the falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager. Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No piano pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. A part for the cello is appended to the full score in the pdf download. Close
Added: 5th July, 2021 10:07 AM |
Views : 3828
The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schu Show More...
The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score with the falling melodic shape / motif at the end of the Minuet being a lovely challenge for performers to deliver with delicacy and musicality. It is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager! Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. This is one of those hidden gems in the music repertoire that needs to played and become known by instrument players and their audiences. An ideal concert even encore movement. there are many arrangements to be discovered on the PlentyMusic website. A part for the violin is appended to the full score in the pdf download. Close
Added: 5th July, 2021 10:07 AM |
Views : 3796
The Minuet is performed without the written repeats sounding in the realisation and has been transposed down a semitone to the key of Ab. This is a qu Show More...
The Minuet is performed without the written repeats sounding in the realisation and has been transposed down a semitone to the key of Ab. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score although when necessary there are some octave transpositions to keep to a convenient range of the solo instrument. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Whilst originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager. Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No piano pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. This is a hidden gems of the music repertoire that needs to played and become better known by instrument players and their audiences. An ideal concert even encore movement, there are many arrangements to be discovered on the PlentyMusic website. A part for the tenor saxophone appropriately transposed is appended to the full score in the pdf download. Close
Added: 5th July, 2021 09:07 AM |
Views : 3366
The Minuet is performed without the written repeats sounding in the realisation and has been transposed down a semitone to the key of Ab. This is a qu Show More...
The Minuet is performed without the written repeats sounding in the realisation and has been transposed down a semitone to the key of Ab. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score although when necessary there are some octave transpositions to keep to a convenient range of the solo instrument. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Whilst originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager. Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No piano pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. This is a hidden gems of the music repertoire that needs to played and become better known by instrument players and their audiences. An ideal concert even encore movement, there are many arrangements to be discovered on the PlentyMusic website. A part for the alto saxophone appropriately transposed is appended to the full score in the pdf download. Close
Added: 5th July, 2021 09:07 AM |
Views : 3442
The Minuet is performed without the written repeats sounding in the realisation and has been transposed down a semitone to the key of Ab. This is a qu Show More...
The Minuet is performed without the written repeats sounding in the realisation and has been transposed down a semitone to the key of Ab. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score although when necessary there are some octave transpositions to keep to a convenient range of the solo instrument. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Whilst originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager! Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No piano pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. This is a hidden gems of the music repertoire and needs to played and become better known by instrument players and their audiences. An ideal concert even encore movement, there are many arrangements to be discovered on the PlentyMusic website. A part for the soprano saxophone appropriately transposed is appended to the full score in the pdf download. Close
Added: 5th July, 2021 07:07 AM |
Views : 3194
The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schu Show More...
The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score although when necessary there are some octave transpositions to keep to a convenient range of the solo instrument. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Whilst originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager! Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. This is one of those hidden gems in the music repertoire that needs to played and become known by instrument players and their audiences. An ideal concert even encore movement. there are many arrangements to be discovered on the PlentyMusic website. A part for the bassoon is appended to the full score in the pdf download. The part utilises both the bass and the tenor clefs. Close
Added: 5th July, 2021 07:07 AM |
Views : 3357
The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schu Show More...
The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score although when necessary there are some octave transpositions to keep to a convenient range of the solo instrument. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Whilst originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager. Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. This is one of those hidden gems in the music repertoire that needs to played and become known by instrument players and their audiences. An ideal concert even encore movement. there are many arrangements to be discovered on the PlentyMusic website. A part for the clarinet in A is appended to the full score in the pdf download. Close
Added: 5th July, 2021 07:07 AM |
Views : 3165
Schubert’s Minuet D.334 is a hidden gem of the music repertoire that needs to played and become known by instrument players and audiences. The Minue Show More...
Schubert’s Minuet D.334 is a hidden gem of the music repertoire that needs to played and become known by instrument players and audiences. The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score although when necessary there are some octave transpositions to keep to a convenient range of the solo instrument. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Whilst originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager! Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony.The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. A part for the clarinet in Bb is appended to the full score in the pdf download. Close
Added: 5th July, 2021 07:07 AM |
Views : 3591
Schubert’s Minuet in A D.334 is a hidden gem of the music repertoire and needs to played to become better known by instrument players and audiences. Show More...
Schubert’s Minuet in A D.334 is a hidden gem of the music repertoire and needs to played to become better known by instrument players and audiences. An ideal concert even encore movement, there are many arrangements to be discovered on the PlentyMusic website. The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score whilst the falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager. Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No piano pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. A part for the oboe is appended to the full score in the pdf download. Close
Added: 5th July, 2021 07:07 AM |
Views : 3456
The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schu Show More...
The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score although when necessary there are some octave transpositions to keep to a convenient range of the solo instrument. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Whilst originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager. Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. This is one of those hidden gems in the music repertoire that needs to played and become known by instrument players and audiences. An ideal concert even encore movement. there are many arrangements to be discovered on the PlentyMusic website. A part for the flute is appended to the full score in the pdf download. Close
Added: 5th July, 2021 07:07 AM |
Views : 3339
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Co Show More...
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 92 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are in this category. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy.
Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 88 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 92 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 100 and Accompaniment 5 at 104 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close
Added: 27th January, 2021 14:01 PM |
Views : 4121
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Co Show More...
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 92 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are in this category. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy.
Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 104 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 100 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 92 and Accompaniment 5 at 88 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close
Added: 27th January, 2021 14:01 PM |
Views : 3423
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Con Show More...
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 92 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are part of this legacy. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy.
Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 104 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 100 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 92 and Accompaniment 5 at 88 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close
Added: 26th January, 2021 13:01 PM |
Views : 3866
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Con Show More...
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 92 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are part of this legacy. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy. Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 104 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 100 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 92 and Accompaniment 5 at 88 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close
Added: 26th January, 2021 13:01 PM |
Views : 2953
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Con Show More...
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 96 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are part of this legacy. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy. Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 88 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 92 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 100 and Accompaniment 5 at 104 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close
Added: 26th January, 2021 13:01 PM |
Views : 2600
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Con Show More...
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 96 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are part of this legacy. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy. Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 88 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 92 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 100 and Accompaniment 5 at 104 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close
Added: 26th January, 2021 12:01 PM |
Views : 3135
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Con Show More...
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 96 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are part of this legacy. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy. Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 88 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 92 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 100 and Accompaniment 5 at 104 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close
Added: 26th January, 2021 12:01 PM |
Views : 3101
An arrangement for flute and piano of this popular English folk song in the dorian mode with E being the keynote. The realisation plays at 50 dotted h Show More...
An arrangement for flute and piano of this popular English folk song in the dorian mode with E being the keynote. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins in the English ballad culture of many centuries ago. A flute part is appended to the full score. The three accompaniment options have tempi of 1) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. The advice is to play the movement with a one to a bar beat or pulse. Close
Added: 18th November, 2020 10:11 AM |
Views : 3418
In this arrangement for violoncello with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter n Show More...
In this arrangement for violoncello with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (crotchet) beats a minute in the first and last A section and 144 in the middle B section. The first section could be played at a slower or quicker tempo and likewise the middle section. The movement needs to be played with a one in a bar feel and features the triplet figuration that is so characteristic of Spanish music. Players should endeavour to communicate the charm and intimacy of the music whilst the melody and accompaniment need to be articulated with clarity and consistency. The movement is in ABA ternary form and has a regular 8 bar phrase structure. In fact each of the main sections are in ternary form so analysis of the movement reveals a structure that can be represented as A (a b a) B (c d c) A (a b a). Octave transpositions are in place where appropriate and chord voicings in the accompaniment have been occasionally edited. The melody is also presented as a single note line. Tempo rubato is something that can be embraced in a performance but has not been used in the realisation and playback. Similarly, the sustaining pedal can be used although its use is not indicated in the sheet music score. The slowing downs that feature at the end of phrases are also not marked in the score. This is music intended for performance in the early 20th century drawing room. This colourful movement exists in several chamber and orchestral arrangements. Moszkowski is a composer whose brilliant piano pieces in particular are worthy of attention although much of the music is technically very challenging. Piano accompaniments are available playing at the following tempi (1) 144/144/144 (2) 138/150/138 (3) 135/144/135 (4)126/138/126. The numbers simply refer to the number of quarter note/crotchet beats to the minute referencing the ABA structure. If you require a more bespoke accompaniment please advise the PlentyMusic office and we will create and upload it for you. The small ornamental notes do not sound in the arrangement although they have been retained in the sheet music score. The music editor suggests that they are probably best omitted certainly in the early stages of learning the piece and possibly altogether for those instruments sounding in the bass clef. Close
Added: 26th August, 2020 15:08 PM |
Views : 3134
In this arrangement for violin with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note ( Show More...
In this arrangement for violin with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (crotchet) beats a minute in the first and last A section and 150 in the middle B section. The first section could be played at a slower or quicker tempo and likewise the middle section. The movement needs to be played with a one in a bar feel and features the triplet figuration that is so characteristic of Spanish music. Players should endeavour to communicate the charm and intimacy of the music whilst the melody and accompaniment need to be articulated with clarity and consistency. The movement is in ABA ternary form and has a regular 8 bar phrase structure. In fact each of the main sections are in ternary form so analysis of the movement reveals a structure that can be represented as A (a b a) B (c d c) A (a b a). Octave transpositions are in place where appropriate and chord voicings in the accompaniment have been occasionally edited. The melody is also presented as a single note line. Tempo rubato is something that can be embraced in a performance but has not been used in the realisation and playback. Similarly, the sustaining pedal can be used although its use is not indicated in the sheet music score. The slowing downs that feature at the end of phrases are also not marked in the score. This is music intended for performance in the early 20th century drawing room. This colourful movement exists in several chamber and orchestral arrangements. Moszkowski is a composer whose brilliant piano pieces in particular are worthy of attention although much of the music is technically very challenging. Piano accompaniments are available playing at the following tempi (1) 144/144/144 (2) 138/150/138 (3) 135/144/135 (4)126/138/126. The numbers simply refer to the number of quarter note/crotchet beats to the minute referencing the ABA structure. If you require a more bespoke accompaniment please advise the PlentyMusic office and we will create and upload it for you. The small ornamental notes that sound in the realisation are probably best omitted certainly in the early stages of learning the piece. Close
Added: 26th August, 2020 14:08 PM |
Views : 2933
In this arrangement for bassoon with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note Show More...
In this arrangement for bassoon with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (crotchet) beats a minute in the first and last A section and 144 in the middle B section. The first section could be played at a slower or quicker tempo and likewise the middle section. The movement needs to be played with a one in a bar feel and features the triplet figuration that is so characteristic of Spanish music. Players should endeavour to communicate the charm and intimacy of the music whilst the melody and accompaniment need to be articulated with clarity and consistency. The movement is in ABA ternary form and has a regular 8 bar phrase structure. In fact each of the main sections are in ternary form so analysis of the movement reveals a structure that can be represented as A (a b a) B (c d c) A (a b a). Octave transpositions are in place where appropriate and chord voicings in the accompaniment have been occasionally edited. The melody is also presented as a single note line. Tempo rubato is something that can be embraced in a performance but has not been used in the realisation and playback. Similarly, the sustaining pedal can be used although its use is not indicated in the sheet music score. The slowing downs that feature at the end of phrases are also not marked in the score. This is music intended for performance in the early 20th century drawing room. This colourful movement exists in several chamber and orchestral arrangements. Moszkowski is a composer whose brilliant piano pieces in particular are worthy of attention although much of the music is technically very challenging. Piano accompaniments are available playing at the following tempi (1) 144/144/144 (2) 138/150/138 (3) 135/144/135 (4)126/138/126.The numbers simply refer to the number of quarter note/crotchet beats to the minute referencing the ABA structure. If you require a more bespoke accompaniment please advise the PlentyMusic office and we will create and upload it for you. The small ornamental notes do not sound in the arrangement although they have been retained in the sheet music score. The music editor suggests that they are probably best omitted certainly in the early stages of learning the piece and possibly altogether for those instruments sounding in the bass clef. Close
Added: 26th August, 2020 14:08 PM |
Views : 2826
In this arrangement for tenors saxophone with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quar Show More...
In this arrangement for tenors saxophone with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (crotchet) beats a minute in the first and last A section and 144 in the middle B section. The first section could be played at a slower or quicker tempo and likewise the middle section. The movement needs to be played with a one in a bar feel and features the triplet figuration that is so characteristic of Spanish music. Players should endeavour to communicate the charm and intimacy of the music whilst the melody and accompaniment need to be articulated with clarity and consistency. The movement is in ABA ternary form and has a regular 8 bar phrase structure. In fact each of the main sections are in ternary form so analysis of the movement reveals a structure that can be represented as A (a b a) B (c d c) A (a b a). Octave transpositions are in place where appropriate and chord voicings in the accompaniment have been occasionally edited. The melody is also presented as a single note line. Tempo rubato is something that can be embraced in a performance but has not been used in the realisation and playback. Similarly, the sustaining pedal can be used although its use is not indicated in the sheet music score. The slowing downs that feature at the end of phrases are also not marked in the score. This is music intended for performance in the early 20th century drawing room. This colourful movement exists in several chamber and orchestral arrangements. Moszkowski is a composer whose brilliant piano pieces in particular are worthy of attention although much of the music is technically very challenging. Piano accompaniments are available playing at the following tempi (1) 144/144/144 (2) 138/150/138 (3) 135/144/135 (4)126/138/126. The numbers simply refer to the number of quarter note/crotchet beats to the minute referencing the ABA structure. If you require a more bespoke accompaniment please advise the PlentyMusic office and we will create and upload it for you. The small ornamental notes do not sound in the arrangement although they have been retained in the sheet music score. The music editor suggests that they are probably best omitted certainly in the early stages of learning the piece. Close
Added: 26th August, 2020 13:08 PM |
Views : 5252
In this arrangement for soprano saxophone with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 qua Show More...
In this arrangement for soprano saxophone with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (crotchet) beats a minute in the first and last A section and 144 in the middle B section. The first section could be played at a slower or quicker tempo and likewise the middle section. The movement needs to be played with a one in a bar feel and features the triplet figuration that is so characteristic of Spanish music. Players should endeavour to communicate the charm and intimacy of the music whilst the melody and accompaniment need to be articulated with clarity and consistency. The movement is in ABA ternary form and has a regular 8 bar phrase structure. In fact each of the main sections are in ternary form so analysis of the movement reveals a structure that can be represented as A (a b a) B (c d c) A (a b a). Octave transpositions are in place where appropriate and chord voicings in the accompaniment have been occasionally edited. The melody is also presented as a single note line. Tempo rubato is something that can be embraced in a performance but has not been used in the realisation and playback. Similarly, the sustaining pedal can be used although its use is not indicated in the sheet music score. The slowing downs that feature at the end of phrases are also not marked in the score. This is music intended for performance in the early 20th century drawing room. This colourful movement exists in several chamber and orchestral arrangements. Moszkowski is a composer whose brilliant piano pieces in particular are worthy of attention although much of the music is technically very challenging. Piano accompaniments are available playing at the following tempi (1) 144/144/144 (2) 138/150/138 (3) 135/144/135 (4)126/138/126.ture. If you require a more bespoke accompaniment please advise the PlentyMusic office and we will create and upload it for you. The acciaccatura or crushed note do not sound in bar 20 and bar 116. Instrumentalists may well review the playing of the small ornamental notes and leave them out entirely although they have been retained in the sheet music score. Close
Added: 26th August, 2020 13:08 PM |
Views : 2983
In this arrangement for clarinet in Bb with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarte Show More...
In this arrangement for clarinet in Bb with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (crotchet) beats a minute in the first and last A section and 150 in the middle B section. The first section could be played at a slower or quicker tempo and likewise the middle section. The movement needs to be played with a one in a bar feel and features the triplet figuration that is so characteristic of Spanish music. Players should endeavour to communicate the charm and intimacy of the music whilst the melody and accompaniment need to be articulated with clarity and consistency. The movement is in ABA ternary form and has a regular 8 bar phrase structure. In fact each of the main sections are in ternary form so analysis of the movement reveals a structure that can be represented as A (a b a) B (c d c) A (a b a). Octave transpositions are in place where appropriate and chord voicings in the accompaniment have been occasionally edited. The melody is also presented as a single note line. Tempo rubato is something that can be embraced in a performance but has not been used in the realisation and playback. Similarly, the sustaining pedal can be used although its use is not indicated in the sheet music score. The slowing downs that feature at the end of phrases are also not marked in the score. This is music intended for performance in the early 20th century drawing room. This colourful movement exists in several chamber and orchestral arrangements. Moszkowski is a composer whose brilliant piano pieces in particular are worthy of attention although much of the music is technically very challenging. Piano accompaniments are available playing at the following tempi (1) 144/144/144 (2) 138/150/138 (3) 135/144/135 (4)126/138/126. The numbers simply refer to the number of quarter note/crotchet beats to the minute referencing the ABA structure. If you require a more bespoke accompaniment please advise the PlentyMusic office and we will create and upload it for you. The acciaccatura or crushed note do not sound in bar 20 and bar 116. Instrumentalists may well review the playing of the small ornamental notes and leave them out entirely although they have been retained in the sheet music score. Close
Added: 26th August, 2020 13:08 PM |
Views : 2407
In this arrangement for oboe with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (cr Show More...
In this arrangement for oboe with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (crotchet) beats a minute in the first and last A section and 144 in the middle B section. The first section could be played at a slower or quicker tempo and likewise the middle section. The movement needs to be played with a one in a bar feel and features the triplet figuration that is so characteristic of Spanish music. Players should endeavour to communicate the charm and intimacy of the music whilst the melody and accompaniment need to be articulated with clarity and consistency. The movement is in ABA ternary form and has a regular 8 bar phrase structure. In fact each of the main sections are in ternary form so analysis of the movement reveals a structure that can be represented as A (a b a) B (c d c) A (a b a). Octave transpositions are in place where appropriate and chord voicings in the accompaniment have been occasionally edited. The melody is also presented as a single note line. Tempo rubato is something that can be embraced in a performance but has not been used in the realisation and playback. Similarly, the sustaining pedal can be used although its use is not indicated in the sheet music score. The slowing downs that feature at the end of phrases are also not marked in the score. This is music intended for performance in the early 20th century drawing room. This colourful movement exists in several chamber and orchestral arrangements. Moszkowski is a composer whose brilliant piano pieces in particular are worthy of attention although much of the music is technically very challenging. Piano accompaniments are available playing at the following tempi (1) 144/144/144 (2) 138/150/138 (3) 135/144/135 (4)126/138/126. The numbers simply refer to the number of quarter note/crotchet beats to the minute referencing the ABA structure. If you require a more bespoke accompaniment please advise the PlentyMusic office and we will create and upload it for you. The acciaccatura or crushed note do not sound in bar 20 and bar 116. Instrumentalists may well review the playing of the small ornamental notes and leave them out entirely although they have been retained in the sheet music score. Close
Added: 26th August, 2020 13:08 PM |
Views : 2844
In this arrangement for flute with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (c Show More...
In this arrangement for flute with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (crotchet) beats a minute in the first and last A section and 150 in the middle B section. The first section could be played at a slower or quicker tempo and likewise the middle section. The movement needs to be played with a one in a bar feel and features the triplet figuration that is so characteristic of Spanish music. Players should endeavour to communicate the charm and intimacy of the music whilst the melody and accompaniment need to be articulated with clarity and consistency. The movement is in ABA ternary form and has a regular 8 bar phrase structure. In fact each of the main sections are in ternary form so analysis of the movement reveals a structure that can be represented as A (a b a) B (c d c) A (a b a). Octave transpositions are in place where appropriate and chord voicings in the accompaniment have been occasionally edited. The melody is also presented as a single note line. Tempo rubato is something that can be embraced in a performance but has not been used in the realisation and playback. Similarly, the sustaining pedal can be used although its use is not indicated in the sheet music score. The slowing downs that feature at the end of phrases are also not marked in the score. This is music intended for performance in the early 20th century drawing room. This colourful movement exists in several chamber and orchestral arrangements. Moszkowski is a composer whose brilliant piano pieces in particular are worthy of attention although much of the music is technically very challenging. Piano accompaniments are available playing at the following tempi (1) 144/144/144 (2) 138/150/138 (3) 135/144/135 (4)126/138/126. The numbers simply refer to the number of quarter note/crotchet beats to the minute referencing the ABA structure. If you require a more bespoke accompaniment please advise the PlentyMusic office and we will create and upload it for you. Close
Added: 26th August, 2020 12:08 PM |
Views : 2764
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. In this arrangement a tempo of 58 quarter note (crotchet) beats to the minute has been used in the realisation. Two registrations are suggested for the playing of the melody which is best played on a swell or choir manual. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the text for the song in translation to have an understanding of the music’s original context. As an organ piece this music is suited to being played on different occasions. Close
Added: 8th July, 2020 10:07 AM |
Views : 5227
Duet No.3 BWV 804 in G major is an appealing work with a light, dance like character. It is an intermediate level performance piece reminiscent of the Show More...
Duet No.3 BWV 804 in G major is an appealing work with a light, dance like character. It is an intermediate level performance piece reminiscent of the composers Two Part Inventions. The Duet does present a number of score reading challenges for the player even though the music is conceived in two parts. The 4 Duets are part of Clavier-Übung III or the German Organ Mass and composed really at the zenith of the composer’s contrapuntal writing. The edited music score has suggested fingering which may serve as a useful guide to how the movement is studied in the first instance. The music editors concept is that once familiarised with the movement that players will make use of the plain score perhaps substituting their own choice of fingering where they feel it is appropriate. The time signature is in 12/8 and the piano realisation plays back at a tempo of 60 dotted quarter note beats to the minute. There are many fine performances of this movement on several different types of keyboard instrument that are worth exploring. Close
Added: 13th June, 2020 11:06 AM |
Views : 5738
A very appealing and familiar movement from the treasure trove of Beethoven’s works WoO (Without Opus number) Originally composed for orchestra, the 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 a melodic piece full of character and humour and this arrangement is for clarinet in A with piano accompaniment. 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. Accompaniments are available for this score with a four bar count in played on a two sounds of the wood block. Because of the tempo changes and the upbeat in the solo part there is a two beat click between the sections. Accompaniment 1 has a tempo of 100 quarter note (crotchet) beats for the Minuet and 110 for the Trio section, Accompaniment 2 has a tempo of 104 quarter note (crotchet) beats for the Minuet and 116 for the Trio section, Accompaniment 3 has a tempo of 108 quarter note (crotchet) beats for the Minuet and 116 for the Trio section and Accompaniment 4 has a tempo of 110 quarter note (crotchet) beats for the Minuet and 120 for the Trio section. This score was reviewed with accompaniments added in 2022. A clarinet in A part appropriately transposed is appended to the music score. Close
Added: 6th May, 2020 09:05 AM |
Views : 4749
A very appealing and familiar movement from the treasure trove of Beethoven’s works WoO (Without Opus number) Originally composed for orchestra, the 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 a melodic piece full of character and humour and this arrangement is for bassoon with piano accompaniment. 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. Accompaniments are available for this score with a four bar count in played on a two sounds of the wood block. Because of the tempo changes and the upbeat in the solo part there is a two beat click between the sections. Accompaniment 1 has a tempo of 100 quarter note (crotchet) beats for the Minuet and 110 for the Trio section, Accompaniment 2 has a tempo of 104 quarter note (crotchet) beats for the Minuet and 116 for the Trio section, Accompaniment 3 has a tempo of 108 quarter note (crotchet) beats for the Minuet and 116 for the Trio section and Accompaniment 4 has a tempo of 110 quarter note (crotchet) beats for the Minuet and 120 for the Trio section. This score was reviewed and revised with accompaniments added in 2022. A bassoon part is appended to the music score. Close
Added: 6th May, 2020 09:05 AM |
Views : 3822
This music was published in 1860. This arrangement for mandolin and two acoustic guitars has a playback tempo of 60 dotted quarter note (crotchet) bea Show More...
This music was published in 1860. This arrangement for mandolin and two acoustic guitars has a playback tempo of 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in D and the B section in F. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. Gottschalk’s music is influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore articulation, tonal quality and dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows ready access to the music. Individual parts for the three instruments are appended to the full score The small ornamental notes in the mandolin part (acciaccaturas or crushed notes) do not sound in the realization. The music editor suggests leaving them out certainly during the learning of the piece. It is then up to the player’s own discretion as whether to play them or not. The two acoustic guitar parts are available as accompaniments and can be downloaded as mp3 files at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts aka working hard. Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. The mandolin may want to explore playing some of the sections at a different octave and in respect to this the PlentyMusic team would appreciate feedback. Close
Added: 8th April, 2020 09:04 AM |
Views : 4623
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate Gottschalk’s virtuoso playing. The playback tempo in the playback score is 58 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section sounds in the key of Eb and the B section in Gb. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. If you do spend time listening to the music of Gottschalk one senses the underlying influence of Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. A trumpet in Bb part appropriately transposed is appended to the full score. The small ornamental notes do not sound in the realization and the music editor suggests leaving them out certainly during the learning of the piece. It is then up to the player’s own discretion whether to play them or not. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. The music editor worked from an old print copy of the work and there were several ambiguities in the score so any feedback on detail would be much appreciated. Close
Added: 8th April, 2020 08:04 AM |
Views : 4036
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate techniqu Show More...
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate Gottschalk’s virtuoso playing. The playback tempo in the playback score is 58 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section sounds in F and the B section in Ab. The repeat does not play in the playback, There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. A trombone part is appended to the full score. The small ornamental or acciaccaturas (crushed) notes do not sound in the realization and the music editor suggests leaving them out certainly during the learning of the piece. It is then up to the player’s own discretion as whether to play them or not. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. There is the influence of Chopin in the compositional style of Gottschalk. As the repetitive element in the movement is strong there is an opportunity to explore the articulation of the notes and both tonal and dynamic range in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 7th April, 2020 21:04 PM |
Views : 3419
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate Gottschalk’s virtuoso playing. The playback tempo in the playback score is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section sounds in Eb and the B section in Gb. The repeat does not play in the playback, They are in the score but are an optional addition. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. If you do spend time listening to the music of Gottschalk one senses the underlying influence of Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. A tenor horn part appropriately transposed is appended to the full score. The small ornamental or acciaccaturas (crushed) notes do not sound in the realization and the music editor suggests leaving them out certainly during the learning of the piece. It is then up to the player’s own discretion whether to play them or not. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute.Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 7th April, 2020 18:04 PM |
Views : 3652
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate Gottschalk’s virtuoso playing. The playback tempo in the playback score is 58 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section sounds in F and the B section in Ab. The repeat does not play in the playback, There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure A euphonium part in the treble clef appropriately transposed is appended to the full score. The small ornamental or acciaccaturas (crushed) notes do not sound in the realization and the music editor suggests leaving them out certainly during the learning of the piece. It is then up to the player’s own discretion whether to play them or not in a performance. There is a strong influence of Chopin in the music of Gottschalk particularly in the harmonic writing and figuration. As the repetitive element in the movement is strong there is an opportunity to explore articulations, tonal and dynamic range in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 7th April, 2020 17:04 PM |
Views : 3350
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate techniqu Show More...
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate his virtuoso playing. The playback tempo in the playback score is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in Eb and the B section in Gb. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The use of the piano sustaining pedal is recommended but is not indicated in the score. Gottschalk composition approach is influenced particularly by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the articulations, dynamics and tonal range in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. The small ornamental notes sound in the realization although the music editor suggests leaving them out c during the learning of the piece. It is then up to the player’s own discretion whether to play or them or not.A tenor saxophone part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. The music editor worked from an old print copy of the work and there were several ambiguities in the score so any feedback on detail would be much appreciated. Close
Added: 7th April, 2020 17:04 PM |
Views : 3656
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate techniqu Show More...
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. The playback tempo in the playback score is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in D and the B section in F. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The small ornamental or acciaccaturas (crushed) notes do not sound in the realisation and it is then up to the player’s own discretion either to play them or not. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The use of the piano sustaining pedal is recommended for the accompanist but is not indicated in the score. Gottschalk’s music is influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows ready access to the music. A cello part is appended to the full score. The small ornamental notes excluding the appoggiaturas do not sound in the realization. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts aka working hard. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana . The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 7th April, 2020 14:04 PM |
Views : 3649
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate technique Show More...
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate Gottschalk’s virtuoso playing. The playback tempo in the playback score is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section sounds in D and the B section in F. The repeat does not play in the playback, There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. A viola part is appended to the full score. The small ornamental or acciaccaturas (crushed) notes are probably best left out during the learning of the piece. It is then up to the player’s own discretion either playing or not playing them. There is a strong influence of Chopin in the music of Gottschalk. As the repetitive element in the movement is strong there is an opportunity to explore articulation, tonal and dynamic range in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Three accompaniments are available playing at 63, 60 and 57 dotted quarter (crotchet) beats to the minute. Close
Added: 7th April, 2020 11:04 AM |
Views : 3785
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. The playback tempo in the playback score is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in D and the B section in F. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The use of the piano sustaining pedal is recommended for the accompanist but is not indicated in the score. The music of Gottschalk is influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the dynamics, tonal range and articulation in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows ready access to the music. A violin part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts aka working hard. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 7th April, 2020 11:04 AM |
Views : 3750
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. The playback tempo in the playback score is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in D and the B section in F. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The small ornamental notes can be omitted particularly when learning the piece where rhythmic accuracy and precision is needed. The use of the piano sustaining pedal is recommended but is not indicated in the score. Gottschalk’s writing is influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the tonal range, articulation and dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. An oboe part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana . The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 7th April, 2020 07:04 AM |
Views : 3448
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate techniqu Show More...
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. The playback tempo in the realization is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in D and the B section in F. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The small ornamental notes can be omitted particularly when learning the piece where rhythmic accuracy and precision are needed. The use of the piano sustaining pedal is recommended but is not indicated in the score. Gottschalk’s writing is influenced of Chopin. As the repetitive element in the movement is strong there is an opportunity to explore tonal range, articulation and dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. A flute part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 7th April, 2020 06:04 AM |
Views : 3775
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. The playback tempo in the playback score is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in Eb and the B section in Gb. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The use of the piano sustaining pedal is recommended but is not indicated in the score. Gottschalk’s writing is strongly influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the dynamic and tonal range in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. A clarinet in B appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana . The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 7th April, 2020 06:04 AM |
Views : 3501
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate technique Show More...
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. The playback tempo in the playback score is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in D and the B section in F. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The use of the piano sustaining pedal is recommended for the accompanist but is not indicated in the score. Gottschalk’s composing approach was influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore articulation as well as dynamic and tonal range in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows ready access to the music. A bassoon part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts aka working hard. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana . The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 6th April, 2020 17:04 PM |
Views : 2836
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate his virtuoso playing. The playback tempo in the playback score is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in Eb and the B section in Gb. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The use of the piano sustaining pedal is recommended but is not indicated in the score. Gottschalk’s writing is influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore how notes are articulated and the tonal and dynamic range in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. An alto saxophone part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana . The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 6th April, 2020 17:04 PM |
Views : 3821
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate Gottschalk’s virtuoso playing. The playback tempo in the playback score is 58 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section sounds in F and the B section in Ab. The repeat does not play in the playback, There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. A baritone part in the treble appropriately transposed is appended to the full score. Players who would like the music notated in the bass clef please advise the PlentyMusic Office. The small ornamental or acciaccaturas (crushed) notes do not sound in the realization and the music editor suggests leaving them out certainly during the learning of the piece. It is then up to the player’s own discretion whether or not to play them. There is a strong influence of Chopin in the music of Gottschalk. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. As the repetitive element in the movement is strong there is an opportunity to explore articulation, tonal and dynamic range in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 6th April, 2020 10:04 AM |
Views : 3869
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. The playback tempo in the realization is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in D and the B section in F. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The small ornamental notes can be omitted particularly when learning the piece where rhythmic accuracy and precision are needed. The use of the piano sustaining pedal is recommended but is not indicated in the score. Gottschalk’s writing is influenced of Chopin. As the repetitive element in the movement is strong there is an opportunity to explore tonal range, articulation and dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. A flute part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 6th April, 2020 10:04 AM |
Views : 3636
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. The playback tempo in the playback score is 58 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in Eb and the B section in Gb. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The use of the piano sustaining pedal is recommended but is not indicated in the score. The writing of Gottschalk is influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the tonal range, articulation and dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. A soprano saxophone part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 6th April, 2020 08:04 AM |
Views : 3564
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for euphonium accompanied by the piano the sounding key is Eb. Euphonium players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not a featured of the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t as well represented in the realization as it might be. A euphonium part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 4th March, 2020 09:03 AM |
Views : 3571
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for baritone accompanied by the piano the sounding key is Eb. Baritone players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not a featured of the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t as well represented in the realization as it might be. A baritone horn part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 4th March, 2020 09:03 AM |
Views : 3934
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for tenor horn accompanied by the piano the sounding key is Eb. Tenor horn players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not a featured of the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t as well represented in the realization as it might be. A tenor horn part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 4th March, 2020 09:03 AM |
Views : 4091
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for horn in F (French horn) accompanied by the piano the sounding key is F. Horn in F (French horn) players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not a featured of the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t as well represented in the realization as it might be. A horn in F (French horn) part appropriately transposed is appended to the full score.
Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 4th March, 2020 08:03 AM |
Views : 4045
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for trombone accompanied by the piano the sounding key is Eb. Trombone players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not a featured of the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t as well represented in the realization as it might be. A trombone part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 4th March, 2020 08:03 AM |
Views : 3765
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for tuba accompanied by the piano the sounding key is F. Tuba players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not a featured of the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A tuba part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 4th March, 2020 08:03 AM |
Views : 3728
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for trumpet in Bb accompanied by the piano the sounding key is Eb. Trumpet players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not a featured of the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A trumpet in Bb part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 4th March, 2020 08:03 AM |
Views : 4371
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spi Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for violoncello accompanied by the piano the sounding key is D. Violoncello players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not featured in the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A violoncello part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 3rd March, 2020 18:03 PM |
Views : 4197
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spi Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for viola accompanied by the piano the sounding key is F. Violists players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not featured in the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A viola part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 3rd March, 2020 18:03 PM |
Views : 3672
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spi Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for violin accompanied by the piano the sounding key is D. Violin players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not featured in the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A violin part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 3rd March, 2020 18:03 PM |
Views : 3658
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spi Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for tenor saxophone accompanied by the piano the sounding key in Eb. Tenor saxophone players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not a feature of the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A tenor saxophone part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 3rd March, 2020 17:03 PM |
Views : 3910
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for alto saxophone accompanied by the piano the sounding key is Eb. Flute players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not featured in the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. An alto saxophone part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 3rd March, 2020 17:03 PM |
Views : 3790
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for soprano saxophone accompanied by the piano sounding in the key of Eb, the soloist should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not featured in the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A soprano saxophone part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 3rd March, 2020 16:03 PM |
Views : 3850
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for English horn accompanied by the piano sounding in the key of F, soloists should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not featured in the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. An English horn part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 3rd March, 2020 16:03 PM |
Views : 4017
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for bassoon accompanied by the piano the sounding key in D. Bassoon players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not featured in the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A bassoon is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 3rd March, 2020 11:03 AM |
Views : 4143
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for clarinet in Bb accompanied by the piano sounding in the key of Eb, soloists should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not featured in the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A clarinet in Bb part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 3rd March, 2020 10:03 AM |
Views : 2995
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spi Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for oboe accompanied by the piano the sounding key in D. Oboe players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not featured in the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. An oboe part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 2nd March, 2020 17:03 PM |
Views : 3821
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for flute accompanied by the piano the sounding key in D. Flute players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not featured in the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A flute part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 2nd March, 2020 16:03 PM |
Views : 3886
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly an Show More...
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most familiar of Latin American melodies. The waltz is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at a tempo of 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A flute part is appended to the full score and the sounding key is Bb. Piano accompaniments are available as an mp3 download at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 7th January, 2020 21:01 PM |
Views : 3556
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 : 2990
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 : 3541
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 : 3590
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 : 3375
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 : 3415
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 : 3457
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 : 2756
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 : 2941
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 : 3446
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 : 3730
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 : 3159
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 : 3284
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 : 3419
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 : 3217
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 : 3628
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 : 3515
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 : 2955
Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African A Show More...
Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African American spiritual. There are many recorded versions dating as far back as the 1920’s and It was also familiar as an anti-war protest song during the Vietnam war. There are many versions of the lyrics which include Old Testament bible references. There are fine performances to be discovered by traditional jazz bands and singers that explore traditional, gospel and contemporary popular music styles. This arrangement sounds in the key of Eb and features syncopation in a march style. It is as an excellent introduction for learning to play in the 20th century popular idiom. An alto saxophone part appropriately transposed is appended to the full score. There is one accompaniment available that plays back at a tempo of 84 half note or minim beats to the minute. Close
Added: 13th December, 2019 09:12 AM |
Views : 3624
Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African A Show More...
Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African American spiritual. There are many recorded versions dating as far back as the 1920’s and It was also familiar as an anti-war protest song during the Vietnam war. There are many versions of the lyrics which include Old Testament bible references. There are fine performances to be discovered by traditional jazz bands and singers that explore traditional, gospel and contemporary popular music styles. This arrangement sounds in the key of F and features syncopation in a march style. It is as an excellent introduction for learning to play in the 20th century popular idiom. A clarinet in Bb part appropriately transposed is appended to the full score. There is one accompaniment available that plays back at a tempo of 84 half note or minim beats to the minute. Close
Added: 13th December, 2019 09:12 AM |
Views : 4308
Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African A Show More...
Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African American spiritual. There are many recorded versions dating as far back as the 1920’s and It was also familiar as an anti-war protest song during the Vietnam war. There are many versions of the lyrics which include Old Testament bible references. There are fine performances to be discovered by traditional jazz bands and singers that explore traditional, gospel and contemporary popular music styles. This arrangement sounds in the key of C and features syncopation in a march style. It is as an excellent introduction for learning to play in the 20th century popular idiom. A flute part is appended to the full score. There is one accompaniment available that plays back at a tempo of 84 half note or minim beats to the minute. Close
Added: 13th December, 2019 08:12 AM |
Views : 3530
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by il Show More...
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The tempo of the realisation in the realisation plays at 63quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which is on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. Accompanists need to make use of the sustaining pedal and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A trombone part is appended to the full score. There are three piano accompaniments available at tempos of (1) 68 (2) 66 and (3) 64 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time. Close
Added: 12th December, 2019 17:12 PM |
Views : 4553
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by il Show More...
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by illness but he did become a well-known composer in his lifetime known particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The music has been transposed to sound in the key of F and the tempo in the realisation plays at 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which is on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. Accompanists need to make use of the sustaining pedal and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A trombone part is appended to the full score. There are three piano accompaniments available at tempos of (1) 68 (2) 66 and (3) 64 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time. Close
Added: 12th December, 2019 17:12 PM |
Views : 3340
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by il Show More...
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The sounding key is Eb and the tempo in the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which is on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The uses of the sustaining pedal by the piano accompanist is recommended and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A trumpet in Bb appropriately transposed is appended to the full score. There are three piano accompaniments available at tempos of (1) 68 (2) 66 and (3) 64 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time. Close
Added: 12th December, 2019 17:12 PM |
Views : 3299
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by il Show More...
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The approach to this arrangement has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The tempo in the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the video score which is available to view on our YouTube channel the ornaments have been written out although symbols have been used in the sheet music score which is available from the website. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The accompanist does need to make use of the sustaining pedal and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A tenor saxophone part appropriately transposed is appended to the full score. There are three piano accompaniments available at tempos of (1) 68 (2) 66 and (3) 64 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time. Close
Added: 12th December, 2019 16:12 PM |
Views : 3553
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by il Show More...
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The tempo in the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which is on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The accompanist does need to make use of the sustaining pedal and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A violin part is appended to the full score. There are three piano accompaniments available at tempos of (1) 68 (2) 66 and (3) 64 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time. Close
Added: 12th December, 2019 16:12 PM |
Views : 2966
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by il Show More...
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The sounding key is Eb and the tempo of the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which is on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The accompanist does need to make use of the sustaining pedal and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A clarinet part appropriately transposed is appended to the full score. There are three piano accompaniments available at tempos of (1) 68 (2) 66 and (3) 64 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time. Close
Added: 12th December, 2019 16:12 PM |
Views : 3442
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by il Show More...
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre.
His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The tempo in the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which can be found on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The uses of the sustaining pedal by the piano accompanist is recommended and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! An oboe part is appended to the full score.There are three piano accompaniments available at tempos of (1) 68 (2) 66 and (3) 64 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time. Close
Added: 12th December, 2019 15:12 PM |
Views : 3005
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by il Show More...
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The tempo in the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which can be found on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The uses of the sustaining pedal by the piano accompanist is recommended and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A flute part is appended to the full score. There are three piano accompaniments available at tempos of (1) 68 (2) 66 and (3) 64 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time. Close
Added: 12th December, 2019 15:12 PM |
Views : 2944
This arrangement of Odeon for bass trombone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisa Show More...
This arrangement of Odeon for bass trombone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A bass trombone part part appended to the full score The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girdling or swaying in a dance context. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 13:12 PM |
Views : 4027
This arrangement of Odeon for violoncello and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisati Show More...
This arrangement of Odeon for violoncello and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music is in its original key although where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The violoncello part is notated in the tenor and bass clef and there is a part appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girdling or swaying in a dance context. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 12:12 PM |
Views : 4329
This arrangement of Odeon for trombone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation Show More...
This arrangement of Odeon for trombone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A trombone part appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 11:12 AM |
Views : 4006
This arrangement of Odeon for bassoon and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation Show More...
This arrangement of Odeon for bassoon and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The bassoon part is notated in the tenor and bass clef and a bassoon part is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 10:12 AM |
Views : 3651
Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement full of energy featuring many syncopated patterns and the real Show More...
Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement full of energy featuring many syncopated patterns and the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed down a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A baritone saxophone part appropriately transposed is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 09:12 AM |
Views : 4235
This arrangement of Odeon for alto saxophone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the reali Show More...
This arrangement of Odeon for alto saxophone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 08:12 AM |
Views : 3862
This arrangement of Odeon for clarinet in Bb and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realis Show More...
This arrangement of Odeon for clarinet in Bb and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed down a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A clarinet in Bb part appropriately transposed is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 08:12 AM |
Views : 3981
This arrangement of Odeon for flute and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation pl Show More...
This arrangement of Odeon for flute and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 92 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A flute part is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 08:12 AM |
Views : 3622
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 : 3656
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 : 3872
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 : 3028
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 : 4442
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 : 3497
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 : 3471
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 : 3875
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 : 3466
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 : 4189
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 : 3382
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 : 3866
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for violoncello accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for instrument players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor has suggested pedalling for some parts of the movement but the guiding principle is that pedalling relates very much to changes in the bass note. The repeats are not played in the realisation. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A violoncello part is appended to the full score. Two accompaniments are available (1) with repeats and (2) without repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 13:12 PM |
Views : 4173
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this original version for violin accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for instrument players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor has suggested pedalling for some parts of the movement but the guiding principle is that pedalling relates very much to changes in the bass note. The repeats are not played in the realisation. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A violin part is appended to the full score. Two accompaniments are available (1) with repeats and (2) without repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 13:12 PM |
Views : 3426
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for alto saxophone accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. There are some octave transpositions in the arrangement needed to keep the alto saxophone within its range. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. An alto saxophone part appropriately transposed is appended to the full score. Two accompaniments are available (1) with repeats and (2) without repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 12:12 PM |
Views : 3598
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for tenor horn accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A tenor horn part is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 12:12 PM |
Views : 2050
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for horn in F (French horn) accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A horn in F (French horn) appropriately transposed is appended to the full score. Two accompaniments are available (1) with repeats and (2) without repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 12:12 PM |
Views : 3289
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for trumpet in Bb accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. There are some octave transpositions in the arrangement needed to keep the alto saxophone within its range. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A trumpet part appropriately transposed is appended to the full score. Two accompaniments are available (1) with repeats and (2) without repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 12:12 PM |
Views : 3498
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for soprano saxophone accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the video score is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. There are some octave transpositions in the arrangement needed to keep the soprano saxophone within its range. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A soprano saxophone part appropriately transposed is appended to the full score. Two accompaniments are available (1) with repeats and (2) without repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 12:12 PM |
Views : 3653
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for clarinet in B flat accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback of the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A clarinet in Bb part appropriately transposed is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 12:12 PM |
Views : 3377
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for oboe accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback of the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for oboe players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. There are some octave transpositions in the arrangement needed to keep the clarinet within its range. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. An oboe part is appended to the full score. Two accompaniments are available (1) with repeats and (2) without repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 11:12 AM |
Views : 3564
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for flute accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for flute players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling for the whole movement is in place with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. There are some octave transpositions in the arrangement needed to keep the flute within its range. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A flute part is appended to the full score. Two accompaniments are available (1) with repeats and (2) without repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 11:12 AM |
Views : 4265
An arrangement for flute and acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back at Show More...
An arrangement for flute and acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. The humour in the music also invites an exaggerated performance although this is not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the trumpet melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions.
Acoustic guitar accompaniments are available with the following tempo options (1) 68/108/68 (2) 66/112/66 (3) 64/112/64 Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
Added: 5th December, 2019 12:12 PM |
Views : 3595
An arrangement for pitched percussion (marimba) and piano of this charming character piece. This movement is in ABA ternary form with the A section pl Show More...
An arrangement for pitched percussion (marimba) and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Accompanying pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the oboe melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A marimba part is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/112/68 (2) 66/112/66 (3) 64/108/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
Added: 5th December, 2019 10:12 AM |
Views : 4471
An arrangement for violoncello and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a t Show More...
An arrangement for violoncello and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Accompanying pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the oboe melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A violoncello part is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/112/68 (2) 66/112/66 (3) 64/108/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
Added: 4th December, 2019 18:12 PM |
Views : 3647
An arrangement for violin and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo Show More...
An arrangement for violin and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Accompanying pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the oboe melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A violin part is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/112/68 (2) 66/112/66 (3) 64/108/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
Added: 4th December, 2019 18:12 PM |
Views : 3374
An arrangement for trombone and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a temp Show More...
An arrangement for trombone and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the trombone melody. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A trombone part is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/112/68 (2) 66/112/66 (3) 64/108/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
Added: 4th December, 2019 18:12 PM |
Views : 3390
An arrangement for trumpet in Bb and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a Show More...
An arrangement for trumpet in Bb and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the trumpet melody. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A trumpet in Bb part appropriately transposed is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/112/68 (2) 66/112/66 (3) 64/108/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
Added: 4th December, 2019 17:12 PM |
Views : 2876
An arrangement for bassoon and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo Show More...
An arrangement for bassoon and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the bassoon melody. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A bassoon part is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/112/68 (2) 66/112/66 (3) 64/108/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
Added: 4th December, 2019 17:12 PM |
Views : 3497
An arrangement for tenor saxophone and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at Show More...
An arrangement for tenor saxophone and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the tenor saxophone melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A tenor saxophone part appropriately transposed is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/112/68 (2) 66/112/66 (3) 64/108/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
Added: 4th December, 2019 16:12 PM |
Views : 3522
An arrangement for alto saxophone and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at Show More...
An arrangement for alto saxophone and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the alto saxophone melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. An alto saxophone part appropriately transposed is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/108/68 (2) 66/112/66 (3) 64/112/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
Added: 4th December, 2019 15:12 PM |
Views : 3395
An arrangement for oboe and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of Show More...
An arrangement for oboe and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the oboe melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. An oboe part is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/108/68 (2) 66/112/66 (3) 64/112/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
Added: 4th December, 2019 15:12 PM |
Views : 3427
An arrangement for flute and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo o Show More...
An arrangement for flute and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a spirited sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Accompanying pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. Additionally, it is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The score detail relating to the use of the sustaining pedal possibly needs clarifying in that what is possibly required is not always indicated. Piano accompaniments are available with the following tempo options (1) 68/112/68 (2) 66/112/66 (3) 64/112/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
Added: 3rd December, 2019 19:12 PM |
Views : 3422
An arrangement for clarinet in Bb and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at Show More...
An arrangement for clarinet in Bb and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the clarinet melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A clarinet in Bb part appropriately transposed is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/112/68 (2) 66/112/66 (3) 64/108/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
Added: 2nd December, 2019 12:12 PM |
Views : 3798
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for viola with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 57 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A viola part is appended to the full score. Close
Added: 16th November, 2019 11:11 AM |
Views : 3437
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for tuba with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 57 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A violin part transposed is appended to the full score. Close
Added: 16th November, 2019 10:11 AM |
Views : 3379
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for tuba with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A tuba part transposed is appended to the full score. Close
Added: 30th October, 2019 13:10 PM |
Views : 3283
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for trombone with piano accompaniment sounds in the key of F. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A trombone part is appended to the full score. Close
Added: 30th October, 2019 13:10 PM |
Views : 3035
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for tenor horn with piano accompaniment sounds in the key of F. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A tenor horn part appropriately transposed is appended to the full score. Close
Added: 30th October, 2019 13:10 PM |
Views : 3607
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for trumpet in Bb with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A trumpet in Bb part appropriately transposed is appended to the full score. Close
Added: 30th October, 2019 12:10 PM |
Views : 2726
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for horn in F (French horn) with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A horn in F (French horn) appropriately transposed is appended to the full score. Close
Added: 30th October, 2019 11:10 AM |
Views : 3501
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for bassoon with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A bassoon part appropriately transposed is appended to the full score. Close
Added: 30th October, 2019 11:10 AM |
Views : 3349
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for tenor saxophone with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A tenor saxophone part appropriately transposed is appended to the full score. Close
Added: 29th October, 2019 17:10 PM |
Views : 3419
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for alto saxophone with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. An alto saxophone part appropriately transposed is appended to the full score. Close
Added: 29th October, 2019 17:10 PM |
Views : 3528
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for soprano saxophone with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 29th October, 2019 16:10 PM |
Views : 3561
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need Show More...
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for clarinet in Bb with piano accompaniment sounds in the key of F. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A clarinet in Bb part appropriately transposed is appended to the full score. Close
Added: 29th October, 2019 15:10 PM |
Views : 3874
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for clarinet in A with piano accompaniment is in the key of A. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A clarinet in A part appropriately transposed is appended to the full score. Close
Added: 29th October, 2019 13:10 PM |
Views : 3667
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for English horn with piano accompaniment is in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. An English horn part appropriately transposed is appended to the full score. Close
Added: 29th October, 2019 13:10 PM |
Views : 3576
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both a legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for oboe with piano accompaniment is in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score. The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. An oboe part is appended to the full score. Close
Added: 29th October, 2019 09:10 AM |
Views : 3297
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for flute with piano accompaniment is in the key of G. The Pavan has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece.The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composers own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A flute part is appended to the full score. Close
Added: 28th October, 2019 13:10 PM |
Views : 3239
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for violoncello accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a violoncello part is appended to the full score. Close
Added: 19th September, 2019 12:09 PM |
Views : 3982
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for violin accompanied by piano with the violinist having the option of playing the repeat at the octave. The playback tempo is 84 quarter note beats to the minute and a violin part is appended to the full score. Close
Added: 19th September, 2019 12:09 PM |
Views : 3493
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s.The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for tuba accompanied by piano. The tuba player also has the option of playing the repeat an octave higher. The playback tempo is 84 quarter note beats to the minute and a tuba part is appended to the full score. Close
Added: 19th September, 2019 12:09 PM |
Views : 3890
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for trombone accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a trombone part is appended to the full score. There are 4 piano accompaniments in place playing at 82, 84, 86 and 88 quarter note beats to the minute. Close
Added: 19th September, 2019 11:09 AM |
Views : 3903
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for trumpet in Bb accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a trumpet in Bb part appropriately transposed is appended to the full score. Close
Added: 19th September, 2019 11:09 AM |
Views : 3680
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in F is for a Horn in F (French horn) accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a horn in F (French horn) part appropriately transposed is appended to the full score. Close
Added: 19th September, 2019 10:09 AM |
Views : 3778
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for baritone saxophone accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a baritone saxophone part appropriately transposed is appended to the full score. Accompaniments are in place playing at 82, 84, 86 and 88 quarter note (crotchet) beats per minute. A click track introduction is not necessary. This is an excellent piece to develop tonal quality and legato playing. Close
Added: 18th September, 2019 16:09 PM |
Views : 3702
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for tenor saxophone accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a tenor saxophone part appropriately transposed is appended to the full score. Accompaniments are in place playing at 82, 84, 86 and 88 quarter note (crotchet) beats per minute. A click track introduction is not necessary. This is an excellent piece to develop tonal quality and legato playing. Close
Added: 18th September, 2019 15:09 PM |
Views : 3768
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. This arrangement sounding in Eb is for alto saxophone accompanied by piano. The playback tempo is 84 quarter note beats to the minute and an alto saxophone part appropriately transposed is appended to the full score. Accompaniments are in place playing at 82, 84, 86 and 88 quarter note (crotchet) beats per minute. A click track introduction is not necessary. This is an excellent piece to develop tonal quality and legato playing. Close
Added: 18th September, 2019 15:09 PM |
Views : 3651
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for soprano saxophone accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a soprano saxophone part appropriately transposed is appended to the full score. Accompaniments are in place playing at 82, 84, 86 and 88 quarter note (crotchet) beats per minute. A click track introduction is not necessary. This is an excellent piece to develop tonal quality and legato playing. Close
Added: 18th September, 2019 15:09 PM |
Views : 3531
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for clarinet in Bb accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a clarinet in Bb part appropriately transposed is appended to the full score. Accompaniments are in place playing at 82, 84, 86 and 88 quarter note (crotchet) beats per minute. A click track introduction is not necessary. This is an excellent piece to develop tonal quality and legato playing. Close
Added: 18th September, 2019 11:09 AM |
Views : 3636
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in D is for English horn accompanied by piano. The playback tempo is 84 quarter note beats to the minute and an English horn part appropriately transposed is appended to the full score. Close
Added: 18th September, 2019 11:09 AM |
Views : 3918
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for oboe accompanied by piano. The playback tempo is 84 quarter note beats to the minute and an oboe part is appended to the full score. Close
Added: 18th September, 2019 11:09 AM |
Views : 4108
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for flute accompanied by piano with the flautist having the option of playing the repeat an octave higher. The playback tempo is 84 quarter note beats to the minute and a flute part is appended to the full score. Piano accompaniments are also in place. Close
Added: 18th September, 2019 09:09 AM |
Views : 2934
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The word barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for horn in F with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A horn in F part appropriately transposed is appended to the full score. Close
Added: 29th August, 2019 20:08 PM |
Views : 3527
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The word barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for trumpet in Bb with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A trumpet in Bb part appropriately transposed is appended to the full score. Close
Added: 29th August, 2019 19:08 PM |
Views : 4071
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 60 dotted quarter note (crotchet) beats to the minute. In this arrangement for baritone with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A baritone part appropriately transposed is appended to the full score. Close
Added: 29th August, 2019 18:08 PM |
Views : 3664
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The word barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for trombone with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A trombone part is appended to the full score. Close
Added: 29th August, 2019 18:08 PM |
Views : 3189
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 60 dotted quarter note (crotchet) beats to the minute. In this arrangement for tuba with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A tuba part is appended to the full score. Close
Added: 29th August, 2019 17:08 PM |
Views : 3291
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 60 dotted quarter note (crotchet) beats to the minute. In this arrangement for tenor horn with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A tenor horn part appropriately transposed is appended to the full score. Close
Added: 29th August, 2019 16:08 PM |
Views : 3489
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for violoncello with piano accompaniment the sounding key is G. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A violoncello part is appended to the full score. Close
Added: 29th August, 2019 16:08 PM |
Views : 3713
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for viola with piano accompaniment the sounding key is D. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A viola part is appended to the full score. Close
Added: 29th August, 2019 15:08 PM |
Views : 3765
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for tenor horn with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A violin part is appended to the full score. Close
Added: 29th August, 2019 15:08 PM |
Views : 3639
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for bassoon with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A bassoon part is appended to the full score. Close
Added: 29th August, 2019 11:08 AM |
Views : 3279
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet)beats to the minute. In this arrangement for alto saxophone with piano accompaniment the sounding key is Eb. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A baritone saxophone part appropriately transposed is appended to the full score. Close
Added: 29th August, 2019 10:08 AM |
Views : 3790
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for tenor saxophone with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A tenor saxophone part appropriately transposed is appended to the full score. Close
Added: 29th August, 2019 10:08 AM |
Views : 3466
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The word barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for alto saxophone with piano accompaniment the sounding key is Eb. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. An alto saxophone part appropriately transposed is appended to the full score. Close
Added: 29th August, 2019 09:08 AM |
Views : 3471
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for soprano saxophone with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 29th August, 2019 09:08 AM |
Views : 3477
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for clarinet in Bb with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. An clarinet in Bb part appropriately transposed is appended to the full score. Close
Added: 29th August, 2019 08:08 AM |
Views : 3333
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for flute with piano accompaniment the sounding key is D. This is an excellent performance piece because the melody is appealing and familiar. Players should aim to play with both a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. An English horn part appropriately transposed is appended to the full score. Close
Added: 28th August, 2019 16:08 PM |
Views : 3571
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for flute with piano accompaniment the sounding key is G. This is an excellent performance piece because the melody is appealing and familiar. Players should aim to play with both a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. An oboe part is appended to the full score. Close
Added: 28th August, 2019 12:08 PM |
Views : 3337
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate (lilting) tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. The repeat is played sounding an octave higher. In this arrangement for flute with piano accompaniment the sounding key is G. This is an excellent performance piece because the melody is appealing and familiar. Players should aim to play with both a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A flute part is appended to the full score. Close
Added: 28th August, 2019 12:08 PM |
Views : 3278
When The Saints Go Marching In arranged for pitched percussion (a marimba sounds in the realisation) and piano in the key of C. The playback tempo is Show More...
When The Saints Go Marching In arranged for pitched percussion (a marimba sounds in the realisation) and piano in the key of C. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A marimba part is appended to the full score and a piano accompaniment is also available. Close
Added: 13th August, 2019 16:08 PM |
Views : 4463
When The Saints Go Marching In arranged for pitched percussion (a marimba sounds in the realisation) and piano in the key of D. The playback tempo is Show More...
When The Saints Go Marching In arranged for pitched percussion (a marimba sounds in the realisation) and piano in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A marimba part is appended to the full score and a piano accompaniment is available. Close
Added: 13th August, 2019 16:08 PM |
Views : 3978
When The Saints Go Marching In arranged for trombone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the min Show More...
When The Saints Go Marching In arranged for trombone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A trombone part is appended to the full score whilst piano accompaniments are in place. Close
Added: 13th August, 2019 16:08 PM |
Views : 3410
When The Saints Go Marching In arranged for trombone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the min Show More...
When The Saints Go Marching In arranged for trombone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A trumpet in Bb part appropriately transposed is appended to the full score and a piano accompaniment is in place. Close
Added: 13th August, 2019 08:08 AM |
Views : 3654
When The Saints Go Marching In arranged for tenor saxophone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to Show More...
When The Saints Go Marching In arranged for tenor saxophone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A tenor saxophone part appropriately transposed is appended to the full score whilst a piano accompaniment is also available. Close
Added: 13th August, 2019 08:08 AM |
Views : 3607
When The Saints Go Marching In arranged for clarinet in Bb and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute Show More...
When The Saints Go Marching In arranged for clarinet in Bb and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. An alto saxophone part appropriately transposed is appended to the full score and a piano accompaniment is in place. Close
Added: 13th August, 2019 08:08 AM |
Views : 3855
When The Saints Go Marching In arranged for clarinet in Bb and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute Show More...
When The Saints Go Marching In arranged for clarinet in Bb and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A soprano saxophone part appropriately transposed is appended to the full score and an accompaniment is in place. Close
Added: 13th August, 2019 08:08 AM |
Views : 3665
When The Saints Go Marching In arranged for clarinet in Bb and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute Show More...
When The Saints Go Marching In arranged for clarinet in Bb and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A clarinet part appropriately transposed is appended to the full score. A piano accompaniment is also available. Close
Added: 13th August, 2019 07:08 AM |
Views : 3725
When The Saints Go Marching In arranged for flute and piano in the key of C. The playback tempo is 100 half note or minim beats to the minute whilst t Show More...
When The Saints Go Marching In arranged for flute and piano in the key of C. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Repeats are in place in the accompaniments which play at 92, 96, 100, 104, and 108 half notes or minim beats to the minute.Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A flute part is appended to the full score and piano accompaniments are available. Close
Added: 13th August, 2019 07:08 AM |
Views : 3441
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A violoncello part is appended to the full score. Close
Added: 12th August, 2019 18:08 PM |
Views : 4116
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A viola part is appended to the full score. Close
Added: 12th August, 2019 17:08 PM |
Views : 4137
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a th Show More...
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A violin part is appended to the full score. Close
Added: 12th August, 2019 16:08 PM |
Views : 3875
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a th Show More...
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A tuba part is appended to the full score. Close
Added: 12th August, 2019 16:08 PM |
Views : 4190
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a th Show More...
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A tenor horn part appropriately transposed is appended to the full score. Close
Added: 12th August, 2019 15:08 PM |
Views : 4306
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a th Show More...
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 53 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A baritone part appropriately transposed is appended to the full score. Close
Added: 12th August, 2019 15:08 PM |
Views : 4173
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a th Show More...
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A trombone part is appended to the full score. Close
Added: 12th August, 2019 14:08 PM |
Views : 3728
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a th Show More...
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A trumpet part is appended to the full score. Close
Added: 12th August, 2019 14:08 PM |
Views : 3902
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 56 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A horn in F (French horn) part appropriately transposed is appended to the full score. Close
Added: 12th August, 2019 14:08 PM |
Views : 3965
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The repeat is not played in the playback score but is in the accompaniment track. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A baritone saxophone part appropriately transposed is appended to the full score. Close
Added: 12th August, 2019 13:08 PM |
Views : 3756
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A bassoon part is appended to the full score. Close
Added: 12th August, 2019 13:08 PM |
Views : 3612
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The repeat is not played in the playback score but is in the accompaniment track. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A tenor saxophone part appropriately transposed is appended to the full score. Close
Added: 12th August, 2019 13:08 PM |
Views : 4091
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 12th August, 2019 12:08 PM |
Views : 3811
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores . Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. An alto saxophone part appropriately transposed is appended to the full score. Close
Added: 12th August, 2019 12:08 PM |
Views : 3837
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A clarinet in Bb part appropriately transposed is appended to the full score. Close
Added: 12th August, 2019 11:08 AM |
Views : 3896
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. An English horn part appropriately transposed is appended to the full score. Close
Added: 12th August, 2019 11:08 AM |
Views : 3936
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. An oboe part is appended to the full score. Close
Added: 12th August, 2019 10:08 AM |
Views : 3884
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is played at the octave in the playback score and also in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores . Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A flute part is appended to the full score. Close
Added: 12th August, 2019 10:08 AM |
Views : 3730
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life.This is a very uplifting mov Show More...
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life.This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for tuba accompanied by the piano. The solo part is appended to the piano score. There is a two bar click count in on the accompaniment track. Accompaniments are in place playing at 108,110 and 112 quarter note (crotchet) beats to the minute. There is a two bar count in sounding on the woodblocks. Close
Added: 4th August, 2019 14:08 PM |
Views : 4130
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life.This is a very uplifting mov Show More...
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life.This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for viola accompanied by the piano. The solo part is appended to the piano score. There is a two bar click count in on the accompaniment track. Accompaniments are in place playing at 108, 110 and 112 quarter note (crotchet) beats to the minute. There is a two bar count in sounding on the woodblocks. Close
Added: 4th August, 2019 14:08 PM |
Views : 4248
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting mo Show More...
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for cello accompanied by the piano. The solo part is also appended to the piano score. There is a two bar click count in on the accompaniment track. Close
Added: 4th August, 2019 14:08 PM |
Views : 3889
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting mo Show More...
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for alto saxophone accompanied by the piano. The solo part is appended to the piano score. There is a two bar click introduction to the accompaniment. Accompaniments are in place playing at 108, 110 and 112 quarter note (crotchet) beats to the minute. There is a two bar count in sounding on the woodblocks. Close
Added: 3rd August, 2019 07:08 AM |
Views : 4098
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A violoncello part is appended to the full score and a piano accompaniment is also available for this arrangement. Close
Added: 25th July, 2019 08:07 AM |
Views : 4038
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A viola part is appended to the full score and a piano accompaniment is also available for this arrangement. Close
Added: 25th July, 2019 07:07 AM |
Views : 3414
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A violin part is appended to the full score and a piano accompaniment is also available for this arrangement. Close
Added: 25th July, 2019 07:07 AM |
Views : 3125
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A tenor horn part is appended to the full score. A piano accompaniment is also available for this arrangement. Close
Added: 24th July, 2019 16:07 PM |
Views : 3820
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A baritone horn part is appended to the full score. A piano accompaniment is also available for this arrangement. Close
Added: 24th July, 2019 16:07 PM |
Views : 3556
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A trombone part is appended to the full score. A piano accompaniment is also available for this arrangement. Close
Added: 24th July, 2019 14:07 PM |
Views : 3655
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A trumpet in Bb part is appended to the full score. A piano accompaniment is also available for this arrangement. Close
Added: 24th July, 2019 14:07 PM |
Views : 3691
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A horn in F (French horn) appropriately transposed is appended to the full score. A piano accompaniment is also available for this arrangement. Close
Added: 24th July, 2019 14:07 PM |
Views : 3492
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A bassoon part is appended to the full score. A piano accompaniment is also available for this arrangement. Close
Added: 24th July, 2019 10:07 AM |
Views : 3368
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. An tenor saxophone part appropriately transposed is appended to the full score. Close
Added: 24th July, 2019 10:07 AM |
Views : 3637
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. An alto saxophone part appropriately transposed is appended to the full score. A piano accompaniment is available for this arrangement. Close
Added: 24th July, 2019 10:07 AM |
Views : 3350
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A soprano saxophone part appropriately transposed is appended to the full score. A piano accompaniment is available for this arrangement. Close
Added: 24th July, 2019 07:07 AM |
Views : 3319
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A clarinet in Bb part appropriately transposed is appended to the full score. A piano accompaniment is available for this arrangement. Close
Added: 24th July, 2019 07:07 AM |
Views : 3469
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. An English horn part appropriately transposed is appended to the full score. A piano accompaniment is available for this arrangement. Close
Added: 24th July, 2019 07:07 AM |
Views : 3444
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. An oboe part is appended to the full score. A piano accompaniment is available for this arrangement. Close
Added: 24th July, 2019 07:07 AM |
Views : 3506
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. There is the option of playing the repeat at the octave. A flute part is appended to the full score. A piano accompaniment is available for this score. Close
Added: 24th July, 2019 06:07 AM |
Views : 3338
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “ Show More...
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “Bird of Prophet” or “The Prophet Bird.” It is an impressive piece in ABA (ternary form) and has been arranged for violin and piano. The tempo indication in German is Langsam, sehr zart which translates as Slowly, very tenderly. The music has a haunting quality and offers challenges for both for the violinist and accompanist making it a very good test piece. The playback in the realisation is a little on the tense side and does not explore tempo rubato which at this time was an aspect of performance practice. Poise and control are needed in a performance whilst all the shapes need to be practiced for accuracy and shape. This is a music score that offers many challenges to players. The tempo in the realisation is 60 quarter note beats although there is opportunity to slow down at the end of phrases. The trill has been written out on an ossia stave in the sheet music score. The sustaining pedal has been indicated in the score but minimal use is suggested. This is a work that challenges the performers to make it their own in the sense that from the first note to the last both the players and the listeners must be captivated. It is a piece where it very easy for the music to be lost on the journey of a performance. It is important for players have a clear understanding of the rhythmic notation and intention - 3 thirty-second notes (demisemiquavers) are to be played in the time of one sixteenth note (or semiquaver). The music editor suggests that at the end of bar 18 the tempo is slowed and again at the end of bar 23 before the return to Tempo I at bar 25. This arrangement keeps as close to Schumann’s score copy as possible. A violin part is appended to the full score. Close
Added: 26th April, 2019 08:04 AM |
Views : 4431
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “ Show More...
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “Bird of Prophet” or “The Prophet Bird.” It is an impressive piece in ABA (Ternary form) and has been arranged for clarinet in Bb and piano sounding in C minor. There are a few octave transpositions in the piano part. The tempo indication in German is Langsam, sehr zart which translates as Slowly, very tenderly. The music has a haunting quality and offers challenges for both for the clarinet player and accompanist making it a very good test piece. The playback in the realisation is a little on the tense side and does not explore tempo rubato which at this time was an aspect of performance practice. Poise and control are needed in a performance whilst all the shapes need to be practiced for accuracy and shape. This is a music score that offers many challenges to players. The tempo in the realisation is 60 quarter note beats although there is opportunity to slow down at the end of phrases. The trill has been written out on an ossia stave in the sheet music score. The sustaining pedal has been indicated in the score but minimal use is suggested. This is a work that challenges the performers to make it their own in the sense that from the first note to the last both the players and the listeners must be captivated. It is a piece where it very easy for the music to be lost on the journey of a performance. It is important for players have a clear understanding of the rhythmic notation and intention - 3 thirty-second notes (demisemiquavers) are to be played in the time of one sixteenth note (or semiquaver). The music editor suggests that at the end of bar 18 the tempo is slowed and again at the end of bar 23 before the return to Tempo I at bar 25. This arrangement keeps as close to Schumann’s score copy as possible. A clarinet in Bb part is appended to the full score. Close
Added: 26th April, 2019 08:04 AM |
Views : 4137
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “ Show More...
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “Bird of Prophet” or “The Prophet Bird.” It is an impressive piece in ABA (Ternary form) and has been arranged for flute and piano. There are a few octave transpositions in the flute part simply needed to keep the melody within the instrument’s range. The tempo indication in German is Langsam, sehr zart which translates as Slowly, very tenderly. The music has a haunting quality and offers challenges for both for the flautist and accompanist making it a very good test piece. The playback in the realisation is a little on the tense side and does not explore tempo rubato which at this time was an aspect of performance practice. Poise and control are needed in a performance whilst all the shapes need to be practiced for accuracy and shape. This is a music score that offers many challenges to players. The tempo in the realisation is 60 quarter note beats although there is opportunity to slow down at the end of phrases. The trill has been written out on an ossia stave in the sheet music score. The sustaining pedal has been indicated in the score but minimal use is suggested. This is a work that challenges the performers to make it their own in the sense that from the first note to the last both the players and the listeners must be captivated. It is a piece where it very easy for the music to be lost on the journey of a performance. It is important for players have a clear understanding of the rhythmic notation and intention - 3 thirty-second notes (demisemiquavers) are to be played in the time of one sixteenth note (or semiquaver). The music editor suggests that at the end of bar 18 the tempo is slowed and again at the end of bar 23 before the return to Tempo I at bar 25. This arrangement keeps as close to Schumann’s score copy as possible. A flute part is appended to the full score. Close
Added: 26th April, 2019 07:04 AM |
Views : 4152
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A baritone part appropriately transposed is appended to the full music score although it is a tuba sound heard in the recording. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 14:04 PM |
Views : 3813
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A tenor horn part appropriately transposed is appended to the full music score although it is a tuba sound heard in the recording. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 14:04 PM |
Views : 3454
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A violin part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 13:04 PM |
Views : 3368
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A violoncello part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 13:04 PM |
Views : 3614
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A trombone part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 09:04 AM |
Views : 3431
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A horn in F (French horn) part is appended to the full music score and there is an alternative ending on the ossia stave. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 09:04 AM |
Views : 3470
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A trumpet in Bb part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 09:04 AM |
Views : 3166
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For an ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A bassoon part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 08:04 AM |
Views : 3298
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For an ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A tenor saxophone part appropriately transposed is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 08:04 AM |
Views : 3371
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For an ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. An alto saxophone part appropriately transposed is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 08:04 AM |
Views : 3604
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For an ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. An English horn part appropriately transposed is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 07:04 AM |
Views : 3480
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For an ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. An oboe part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 07:04 AM |
Views : 3416
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For an ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A flute part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 07:04 AM |
Views : 3426
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Show More...
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. It has been transposed down a tone from the original version. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. The realisation lacks a little rhythmic flexibility at the ends of phrases in the rubato sections and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal although this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composers own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A horn in F part (French horn) appropriately transposed is appended to the music score. Close
Added: 29th March, 2019 12:03 PM |
Views : 3379
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Show More...
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. The realisation lacks a little rhythmic flexibility at the ends of phrases in the rubato sections and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal although this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composer’s own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk style music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A viola part is appended to the music score. Close
Added: 29th March, 2019 12:03 PM |
Views : 3490
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Show More...
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. The realisation lacks a little rhythmic flexibility at the ends of phrases in the rubato sections and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal although this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composer’s own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk style music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A violin part is appended to the music score. Close
Added: 29th March, 2019 12:03 PM |
Views : 3107
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Show More...
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. It is a tone lower than the piano original and the Vivo sections have been transposed down an octave. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. The realisation lacks a little rhythmic flexibility at the ends of phrases and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal but this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composers own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A baritone part is appropriately transposed is appended to the music score. Close
Added: 29th March, 2019 11:03 AM |
Views : 3659
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Show More...
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections.In the Vivo, non rubato sections the music has been transposed down an octave. The realisation lacks a little rhythmic flexibility at the ends of phrases and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal but this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composers own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. An alto saxophone part is appropriately transposed is appended to the music score. The music editor is aware that the range of the piece is right at the top end of the register for the alto saxophone and would be very interested in receiving feedback about the arrangements practicality and suitability in performance. An alto saxophone part appropriately transposed is appended to the music score. Close
Added: 29th March, 2019 11:03 AM |
Views : 3527
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Show More...
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces although it has been transposed down a tone. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. The realisation lacks a little rhythmic flexibility at the ends of phrases in the rubato sections and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal although this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composer’s own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A clarinet on Bb appropriately transposed is appended to the music score. Close
Added: 29th March, 2019 11:03 AM |
Views : 3434
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Show More...
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in both clefs. The rhythmic purpose of his music is always very strong and whilst delivery of the melody needs to be quite fluid in the rubato section the music nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 80 quarter note (crotchet) beats in the lento rubato sections and 144 quarter note (crotchet beats) beats in the Vivo, non rubato sections. Accompanists will want to make use of the sustaining pedal but this has not been indicated in the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composers own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A flute part is appended to the music score Close
Added: 29th March, 2019 11:03 AM |
Views : 3275
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 : 4121
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 : 3597
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 : 4187
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 : 4512
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 : 4452
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 : 4169
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 : 4473
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 : 4184
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 : 4499
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Show More...
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. In this arrangement for mandolin, acoustic guitar and string/upright bass individual parts are appended to the full score. There are particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for violin, acoustic guitar and upright/string bass individual parts for the three instruments are appended to the full score. The acoustic guitar part plays a combination of countermelodies and chords. Close
Added: 20th February, 2019 17:02 PM |
Views : 4108
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Show More...
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. A marimba part is appended to the full score. Close
Added: 20th February, 2019 16:02 PM |
Views : 4120
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Show More...
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. Some performers play the repeat of the C section at the octave as indicated in the score but this is optional. Close
Added: 20th February, 2019 15:02 PM |
Views : 3660
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Show More...
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A and understood to be in rondo form. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. A violin part is appended to the full score. Close
Added: 20th February, 2019 13:02 PM |
Views : 3396
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Show More...
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. A bassoon part is appended to the full score. Close
Added: 19th February, 2019 19:02 PM |
Views : 3640
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Show More...
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. Some performers play the repeat of the C section at the octave as indicated in the score but this is optional. An soprano saxophone part is appended to the full score. Close
Added: 19th February, 2019 18:02 PM |
Views : 3451
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Show More...
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. A tenor saxophone part is appended to the full score. Close
Added: 19th February, 2019 18:02 PM |
Views : 3571
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Show More...
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. Some performers play the repeat of the C section at the octave as indicated in the score but this is optional. An alto saxophone part is appended to the full score. Close
Added: 19th February, 2019 15:02 PM |
Views : 3466
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Show More...
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. Some performers play the repeat of the C section at the octave as indicated in the score but this is optional. A flute part is appended to the full score. Close
Added: 19th February, 2019 10:02 AM |
Views : 3751
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Show More...
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. From bar 38 there is the option of playing the repeat of the C section at the octave as indicated in the score. A clarinet part is appended to the full score. Close
Added: 18th February, 2019 10:02 AM |
Views : 3702
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of F and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A bassoon part is appended to the full score. Close
Added: 27th January, 2019 19:01 PM |
Views : 3838
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of Eb and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A tenor saxophone part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 19:01 PM |
Views : 4090
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of Eb and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An alto saxophone part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 19:01 PM |
Views : 4011
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of F and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 17:01 PM |
Views : 3920
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An English horn part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 17:01 PM |
Views : 4127
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847 who had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847 who had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst the realisation sounds in the key of F and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An oboe part is appended to the full score. Close
Added: 27th January, 2019 17:01 PM |
Views : 3566
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847 who had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847 who had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb and the realisation sounds in the key of G and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An individual flute part is appended to the full score. Close
Added: 27th January, 2019 16:01 PM |
Views : 4260
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 80 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A tuba part is appended to the full score. Close
Added: 27th January, 2019 16:01 PM |
Views : 4099
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 80 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A trombone part is appended to the full score. Close
Added: 27th January, 2019 16:01 PM |
Views : 4063
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 80 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A horn in F (French horn) part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 16:01 PM |
Views : 4015
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A trumpet in Bb part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 16:01 PM |
Views : 3943
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A cello part is appended to the full score. Close
Added: 27th January, 2019 15:01 PM |
Views : 4056
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A violin part is appended to the full score. Close
Added: 27th January, 2019 15:01 PM |
Views : 3860
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of Eb and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A clarinet in Bb part appropriately transposed is appended to the full score. Close
Added: 26th January, 2019 14:01 PM |
Views : 3963
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arra Show More...
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arrangement for violoncello and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played & performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A violoncello part is appended to the full score. Close
Added: 6th December, 2018 11:12 AM |
Views : 3491
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arra Show More...
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arrangement for violoncello and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played & performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A violin part is appended to the full score whilst the player has the option of performing the repeat of the chorus at the octave. Close
Added: 6th December, 2018 11:12 AM |
Views : 3360
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for trumpet in Bb and piano sounding in the key of Eb is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A trumpet in Bb appropriately transposed is appended to the full score. Close
Added: 5th December, 2018 21:12 PM |
Views : 3933
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for euphonium and piano sounding in Eb is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A euphonium part notated in the bass clef is appended to the full score. Close
Added: 5th December, 2018 21:12 PM |
Views : 3251
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for baritone horn and piano sounding in Eb is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if is an possible to recruit a percussion player. A baritone horn part appropriately transposed is appended to the full score. Close
Added: 5th December, 2018 19:12 PM |
Views : 4030
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for trombone and piano in the key of F is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A trombone part is appended to the full score. Close
Added: 5th December, 2018 19:12 PM |
Views : 3515
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for tenor and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A tenor horn part appropriately transposed is appended to the full score. Close
Added: 5th December, 2018 18:12 PM |
Views : 3480
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for trumpet in Bb and piano sounding in the key of F is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A trumpet in Bb appropriately transposed is appended to the full score. Close
Added: 5th December, 2018 18:12 PM |
Views : 3884
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for horn in F (French horn) and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A horn in F part appropriately transposed is appended to the full score. Close
Added: 5th December, 2018 18:12 PM |
Views : 3409
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arra Show More...
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arrangement for bassoon and piano sounding in the key of G is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played & performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A bassoon part is appended to the full score. Close
Added: 5th December, 2018 17:12 PM |
Views : 3291
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for tenor saxophone and piano sounding in the key of F is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A tenor saxophone part appropriately transposed is appended to the full score. Close
Added: 5th December, 2018 17:12 PM |
Views : 3553
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for alto saxophone and piano sounding in the key of F is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. An alto saxophone part appropriately transposed is appended to the full score. Close
Added: 5th December, 2018 11:12 AM |
Views : 3657
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for soprano saxophone and piano sounding in the key of F is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 5th December, 2018 11:12 AM |
Views : 3512
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for bass clarinet and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A bass clarinet part appropriately transposed is appended to the full score. The sounding key is F. Close
Added: 5th December, 2018 11:12 AM |
Views : 3611
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for clarinet in Bb and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A clarinet in Bb part appropriately transposed is appended to the full score. The sounding key is F and there are piano accompaniments in place. Close
Added: 5th December, 2018 11:12 AM |
Views : 3554
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for oboe and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. An oboe part is appended to the full score. Close
Added: 5th December, 2018 11:12 AM |
Views : 3767
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for flute and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A flute part is appended to the full score. Playing the second chorus at the octave is also an option. Piano accompaniments are in place. Close
Added: 5th December, 2018 10:12 AM |
Views : 3361
This is a full version of the Pavan for flute with piano accompaniment based on the piano and SATB vocal arrangement by the composer. The elements of Show More...
This is a full version of the Pavan for flute with piano accompaniment based on the piano and SATB vocal arrangement by the composer. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 84 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. A flute part is appended to the full score. Close
Added: 20th November, 2018 15:11 PM |
Views : 3572
This is intermediate level arrangement for violoncello with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement Show More...
This is intermediate level arrangement for violoncello with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by the composer. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. A violoncello part is appended to the full score. Close
Added: 20th November, 2018 14:11 PM |
Views : 3891
This is intermediate level arrangement for trombone with piano accompaniment based on a cut down version of the piano and SATB vocal arrangement by th Show More...
This is intermediate level arrangement for trombone with piano accompaniment based on a cut down version of the piano and SATB vocal arrangement by the composer in the key of F minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. A trombone part is appended to the full score. Close
Added: 20th November, 2018 14:11 PM |
Views : 3474
This is intermediate level arrangement for soprano saxophone with piano accompaniment based on a cut down version of the piano and SATB vocal arrangem Show More...
This is intermediate level arrangement for soprano saxophone with piano accompaniment based on a cut down version of the piano and SATB vocal arrangement by the composer transcribed to the key of F minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. An soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 20th November, 2018 14:11 PM |
Views : 3672
This is a full version of the Pavan for oboe with piano accompaniment based on the piano and SATB vocal arrangement by the composer sounding in the or Show More...
This is a full version of the Pavan for oboe with piano accompaniment based on the piano and SATB vocal arrangement by the composer sounding in the original key of F# minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 84 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. An oboe part is appended to the full score. Close
Added: 20th November, 2018 14:11 PM |
Views : 3541
This is intermediate level arrangement for clarinet in B flat sounding in the key of F minor with piano accompaniment is based on a cut down version o Show More...
This is intermediate level arrangement for clarinet in B flat sounding in the key of F minor with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by the composer. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the E# beginning and ending with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. This is an excellent piece for exploring the tonal range of the piano but avoid playing the quieter sections too loudly. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. A clarinet in B flat part is appended to the full score. Close
Added: 20th November, 2018 14:11 PM |
Views : 3757
This is intermediate level arrangement for clarinet in A with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangeme Show More...
This is intermediate level arrangement for clarinet in A with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by the composer in the original key of F# minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the E# beginning and ending with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. This is an excellent piece for exploring the tonal range of the piano but avoid playing the quieter sections too loudly. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. A clarinet in A part is appended to the full score. Close
Added: 20th November, 2018 14:11 PM |
Views : 2904
This is intermediate level arrangement for bassoon with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by Show More...
This is intermediate level arrangement for bassoon with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by the composer in the original key of F# minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. A bassoon part is appended to the full score. Close
Added: 20th November, 2018 14:11 PM |
Views : 3602
This is intermediate level arrangement for alto saxophone with piano accompaniment based on a cut down version of the piano and SATB vocal arrangement Show More...
This is intermediate level arrangement for alto saxophone with piano accompaniment based on a cut down version of the piano and SATB vocal arrangement by the composer. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. An alto saxophone part appropriately transposed is appended to the full score. The sounding key is F minor. Close
Added: 20th November, 2018 14:11 PM |
Views : 3758
This is intermediate level arrangement for flute with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by th Show More...
This is intermediate level arrangement for flute with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by the composer in the original key of F# minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. A flute part is appended to the full score. Close
Added: 20th November, 2018 13:11 PM |
Views : 3632
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Princ Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instruments. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The players have the option of playing the repeat whilst a baritone horn part is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 8th November, 2018 11:11 AM |
Views : 3797
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Princ Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement for trombone and piano is in 6/8 time whilst the realisation plays at 48 dotted quarter (crotchet) beats to the minute. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The repeat is optional whilst a trombone part is attached to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 8th November, 2018 11:11 AM |
Views : 3881
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Princ Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel The repeat is optional and a trumpet in B flat part is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 8th November, 2018 11:11 AM |
Views : 4405
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Princ Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The repeat is optional and a horn in F (French horn) part is appended to the full score. There are three piano accompaniments available at tempi of (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 8th November, 2018 11:11 AM |
Views : 3929
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Princ Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instruments. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The tenor player has the option of playing the repeat whilst a tenor horn part is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 8th November, 2018 11:11 AM |
Views : 4133
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The repeat is optional whilst a viola part is appended to the full score. Piano accompaniments are also in place. Close
Added: 7th November, 2018 13:11 PM |
Views : 3898
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The violinist has the option of playing the repeat of the chorus an octave higher. The repeat does not sound in the realisation whilst a violin part is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 7th November, 2018 12:11 PM |
Views : 3636
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The repeat is optional whilst a violoncello part is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute. Close
Added: 7th November, 2018 12:11 PM |
Views : 3295
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. A tenor saxophone part appropriately transposed is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 6th November, 2018 14:11 PM |
Views : 3562
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. An alto saxophone part appropriately transposed is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 6th November, 2018 14:11 PM |
Views : 3907
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as usually as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. A bass clarinet part appropriately transposed is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 6th November, 2018 14:11 PM |
Views : 4089
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Princ Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as usually but some of the accompanying chords have been updated to give a more contemporary feel. A bassoon part is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 6th November, 2018 14:11 PM |
Views : 3865
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. A soprano saxophone part appropriately transposed is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 6th November, 2018 12:11 PM |
Views : 3764
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. A clarinet in Bb part appropriately transposed is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 6th November, 2018 12:11 PM |
Views : 3813
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. An oboe part is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 6th November, 2018 12:11 PM |
Views : 3887
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. The flautist has the option of playing the repeated chorus an octave higher as in the realisation. A flute part is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 6th November, 2018 12:11 PM |
Views : 3756
An arrangement for viola and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats t Show More...
An arrangement for viola and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A viola part is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel. Close
Added: 24th October, 2018 18:10 PM |
Views : 3636
An arrangement for violoncello and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) b Show More...
An arrangement for violoncello and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A violoncello part is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel. Close
Added: 24th October, 2018 18:10 PM |
Views : 4253
An arrangement for violin and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats Show More...
An arrangement for violin and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and whilst octave playing is explored it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A viola part is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel. Close
Added: 24th October, 2018 17:10 PM |
Views : 3499
An arrangement for horn in f (French horn) and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half not Show More...
An arrangement for horn in f (French horn) and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A horn in F part appropriately transposed is appended to the full score. The three accompaniment options have tempi of 1) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel. Close
Added: 24th October, 2018 17:10 PM |
Views : 3802
An arrangement for bassoon and piano of this popular English folk song in the dorian mode although the key note is E. The realisation plays at 50 dott Show More...
An arrangement for bassoon and piano of this popular English folk song in the dorian mode although the key note is E. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A bassoon is appended to the full score. The three accompaniment options have tempi of 1) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel. Close
Added: 24th October, 2018 17:10 PM |
Views : 3397
An arrangement for soprano saxophone and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (mi Show More...
An arrangement for soprano saxophone and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A soprano saxophone part appropriately transposed is appended to the full score. The three accompaniment options have tempi of 1) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel. Close
Added: 24th October, 2018 17:10 PM |
Views : 4126
An arrangement for clarinet in B flat and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (m Show More...
An arrangement for clarinet in B flat and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A clarinet in B flat part appropriately transposed is appended to the full score. The three accompaniment options have tempi of 1) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel. Close
Added: 24th October, 2018 17:10 PM |
Views : 3426
An arrangement for oboe and piano of this popular English folk song in the dorian mode with the keynote being E. The realisation plays at 50 dotted ha Show More...
An arrangement for oboe and piano of this popular English folk song in the dorian mode with the keynote being E. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. An oboe part is appended to the full score. The three accompaniment options have tempi of 1) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel. Close
Added: 24th October, 2018 17:10 PM |
Views : 3671
An arrangement for flute and piano of this popular English folk song in the dorian mode with the key note being D. The realisation plays at 50 dotted Show More...
An arrangement for flute and piano of this popular English folk song in the dorian mode with the key note being D. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins in the English ballad culture of many centuries ago. A flute part is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minim) beats to the minute. The best advice is to play with a sense of their being one beat to the bar. Close
Added: 24th October, 2018 16:10 PM |
Views : 4966
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the ag Show More...
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for violin and piano in the key of G the intended playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 75 start on the note. A solo violin part is appended to the full score. There are three accompaniments available playing at (1) 104 (2) 100 and (3) 96 quarter note (crotchet) beats to the minute. Close
Added: 12th October, 2018 14:10 PM |
Views : 3932
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the ag Show More...
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for clarinet in B flat and piano the playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 75 start on the note. A soprano saxophone part appropriately transposed is appended to the full score. There are three accompaniments available playing at (1) 104 (2) 100 and (3) 96 quarter note (crotchet) beats to the minute. Close
Added: 12th October, 2018 14:10 PM |
Views : 4217
A theme and 10 variations selected from the set of twenty four published 1770. The writing suggests the music was intended for both the harpsichord an Show More...
A theme and 10 variations selected from the set of twenty four published 1770. The writing suggests the music was intended for both the harpsichord and fortepiano. The editor has selected variations particularly appropriate to the development of piano technique and has avoided including variations which are more baroque in character and suited to being played on the harpsichord. The musical content is both charming and appealing, well suited to developing technical skills and musical memory. The tempo of the theme is played at 76 quarter notes to the minute and generally, the tempo of the variations remains the same with the minor variation possibly played a little slower. The ornamentation is straight forward and the sheet music score has ossia staves with some of the ornaments written out in full. No pedal markings have been notated in the score although some use of the sustaining pedal may be used. This is excellent music for developing keyboard technique and the music editor is surprised that the movement is not more widely known. The German title for this music is Variationen über das lied "ich schlief, da träumte mir”. Close
Added: 12th October, 2018 11:10 AM |
Views : 4637
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the ag Show More...
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for clarinet in B flat and piano the playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 75 starts on the note. The clarinet player may wish to play the section from bar 49 – 63 with a staccato articulation. A clarinet part appropriately transposed is appended to the full score. There are three accompaniments available playing at (1) 104 (2) 100 and (3) 96 quarter note (crotchet) beats to the minute. Close
Added: 8th October, 2018 19:10 PM |
Views : 3811
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the ag Show More...
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for oboe and piano the playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 75 start on the note. An oboe part is appended to the full score. There are three accompaniments available playing at (1) 104 (2) 100 and (3) 96 quarter note (crotchet) beats to the minute. Close
Added: 8th October, 2018 19:10 PM |
Views : 3057
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the ag Show More...
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for flute and piano the playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 75 starts on the note. There are three accompaniments available playing at (1) 104 (2) 100 and (3) 96 quarter note (crotchet) beats to the minute. Close
Added: 8th October, 2018 19:10 PM |
Views : 3687
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to break the mood it is ideally placed as part of the repertoire in the PlentyMusic Café although it has to be confirmed whether a humorous approach to this piece is a possibility. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. Piano accompaniments are available playing at 84, 88, 92, 96 and 100 quarter note (crotchet) beats to the minute. Close
Added: 6th October, 2018 19:10 PM |
Views : 3621
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The harmonics sound at pitch but the limitations of the sampling library means that true harmonics are not being sounded. A violoncello part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 12:10 PM |
Views : 4133
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The harmonics sound at pitch but the limitations of the sampling library means that true harmonics are not being sounded. A viola part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 12:10 PM |
Views : 3843
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The harmonics sound at pitch but the limitations of the sampling library means that true harmonics are not being sounded. A violin part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 3575
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! A marimba part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 4263
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! A tuba part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 3629
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The trombone part notated in the bass and tenor clef is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 3606
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! A bassoon part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 3878
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! A baritone saxophone part is appended to the full score. There are two accompaniments available one with repeats and the second without them. Close
Added: 3rd October, 2018 11:10 AM |
Views : 3725
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The small ornamental notes do not sound in the realisation. An alto saxophone part appropriately transposed is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 4164
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 but soon quicken to an Allegro vivace tempo. Everyone needs to enjoy a performance of this music. The simple advice is to make your performance your own! A clarinet part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 3853
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! There are octave transpositions in the flute part although the one in the closing section is a purely optional challenge! A flute part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 10:10 AM |
Views : 3674
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback of this arrangement. A violoncello part is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 3862
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback of this arrangement which is in the key of G. A viola part is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 3641
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A violin part is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 3837
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A baritone horn part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 3352
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A trombone part is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 3661
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A tenor horn part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 3834
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A trumpet in B flat part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 4010
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A horn in F (French horn) part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 3686
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A bassoon is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 11:10 AM |
Views : 2894
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A tenor saxophone part appropriately transposed is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 11:10 AM |
Views : 3783
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. An alto saxophone part appropriately transposed is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 11:10 AM |
Views : 3811
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A soprano saxophone part appropriately transposed is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 11:10 AM |
Views : 3497
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A clarinet in B flat part appropriately transposed is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 10:10 AM |
Views : 3486
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. An English horn part is appended to the full score appropriately transposed. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given! Close
Added: 2nd October, 2018 10:10 AM |
Views : 3797
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. An oboe part is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given! Pianos accompaniments are in place for this score. Close
Added: 2nd October, 2018 10:10 AM |
Views : 3880
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is played at the octave in the realisation. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A flute part is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given! Accompaniments are in place. Close
Added: 2nd October, 2018 10:10 AM |
Views : 3682
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A tuba part is appended to the full score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 10:06 AM |
Views : 4749
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A euphonium part notated in the bass and tenor clef is appended to the full score. Three piano accompaniments are available for this score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 10:06 AM |
Views : 4623
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 84 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A trombone part is appended to the full score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 09:06 AM |
Views : 4849
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 84 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A horn part appropriately transposed is appended to the full score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 09:06 AM |
Views : 3983
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A double bass part notated in the treble clef (!) is appended to the full score. Accompaniment 1 plays at 88 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 80 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 09:06 AM |
Views : 3883
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 80 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A cello part notated in the bass and tenor clef is appended to the full score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 09:06 AM |
Views : 3737
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 80 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A viola part is appended to the full score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 09:06 AM |
Views : 3844
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 80 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A violin part is appended to the full score. Accompaniment 1 plays at 88 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 80 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 09:06 AM |
Views : 4021
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 84 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A bassoon notated in the tenor clef part is appended to the full score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 08:06 AM |
Views : 3636
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. An alto saxophone part is appended to the full score. Accompaniment 1 plays at 88 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 80 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 08:06 AM |
Views : 3825
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A clarinet part is appended to the full score. Three piano accompaniments are available for this score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 08:06 AM |
Views : 3728
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. An oboe d’amore part is appended to the full score. Three piano accompaniments are available for this score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 07:06 AM |
Views : 3781
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. An oboe part which features a number of octave displacements and rhythmic editing to keep to the instrument’s range is appended to the full score. Three piano accompaniments are available for this score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 07:06 AM |
Views : 4987
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A horn in F part appropriately transposed is appended to the full score. The music editor is interested in hearing from horn in F (French horn) players as to other keys options for this piece because available recordings suggest that there is more than one option. There are four accompaniments available without a click track as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. Close
Added: 1st June, 2018 17:06 PM |
Views : 3893
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to used and generally its use is governed by the harmonic rhythm of the movement. Like many French composers he was a very fine organist Many musical commentators suggest that Saint-Saens music is deserving of being explored for its high quality and variety. A baritone part appropriately transposed in the treble clef is appended to the full score. The music editor is interested in hearing from baritone horn players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of Bb and utilizes the Sibelius tuba sound in the realisation. There are four accompaniments available playing at 75,72, 69 and 66 quarter note (crotchet) beats to the minute. Close
Added: 1st June, 2018 17:06 PM |
Views : 4094
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to used and generally its use is governed by the harmonic rhythm of the movement. Like many French composers he was a very fine organist Many musical commentators suggest that Saint-Saens music is deserving of being explored for its high quality and variety. A tenor horn part appropriately transposed is appended to the full score. The music editor is interested in hearing from tenor horn players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of F and utilizes the Sibelius tuba sound in the realisation.There are four accompaniments available without a click track as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. Close
Added: 1st June, 2018 16:06 PM |
Views : 3990
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A trombone part is appended to the full score. The music editor is interested in hearing from trombone players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of F. There are four accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69, and66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. This score reviewed and updated November 2025. Close
Added: 1st June, 2018 15:06 PM |
Views : 4167
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A trumpet in Bb part appropriately transposed is appended to the full score. The music editor is interested in hearing from trumpet players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of F. There are 4 accompaniments available playing at 75,72, 69 and 66 quarter note (crotchet) beats to the minute. Close
Added: 1st June, 2018 14:06 PM |
Views : 3689
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A trumpet in Bb part appropriately transposed is appended to the full score. The music editor is interested in hearing from trumpet players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of Ab. Close
Added: 1st June, 2018 14:06 PM |
Views : 3767
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A euphonium part notated in the treble clef is appended to the full score. Four accompaniments are also available. Close
Added: 1st June, 2018 12:06 PM |
Views : 4302
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A violoncello part notated in the tenor clef is appended to the full score.There are three accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. Close
Added: 1st June, 2018 12:06 PM |
Views : 3912
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A viola part is appended to the full score. There are four accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. Close
Added: 1st June, 2018 11:06 AM |
Views : 3744
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A violin part is appended to the full score. There are four accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. Close
Added: 1st June, 2018 11:06 AM |
Views : 3762
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. An alto saxophone part appropriately transposed is appended to the full score. There are five accompaniments available playing at 75, 72, 69, 66 and 63 quarter note (crotchet) beats to the minute. Score reviewed October 2025. Close
Added: 1st June, 2018 11:06 AM |
Views : 4431
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A tenor saxophone part appropriately transposed is appended to the full score. There are fouraccompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. Close
Added: 1st June, 2018 11:06 AM |
Views : 3974
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A bassoon part notated in the tenor clef is appended to the full score. There are four accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. Close
Added: 1st June, 2018 09:06 AM |
Views : 4164
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A soprano saxophone part is appended to the full score.There are four accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75,72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded.Score reviewed October 2025. Close
Added: 1st June, 2018 09:06 AM |
Views : 4281
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A clarinet in Bb part is appended to the full score. There are four accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 72 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. This score was reviewed October 2025. Close
Added: 1st June, 2018 08:06 AM |
Views : 4294
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. An English horn part is appended to the full score.There are three accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. This score was reviewed in October 2025. Close
Added: 1st June, 2018 08:06 AM |
Views : 4407
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. An oboe part is appended to the full score. There are three accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. This score was reviewed in October 2025. Close
Added: 1st June, 2018 08:06 AM |
Views : 4568
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the score in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious to the point of being humorous. The formal model is that of the American march and the music can best described as being an example of early “light music.” As a piece intended to break or change a mood it is ideally placed as part of the repertoire in the PlentyMusic Café. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. For the pitched percussionist the music editor has avoided using tremolos on the half notes in bars 25 and 26 (+ repeats of these bars through the piece). Piano accompaniments are available playing at 84, 88, 92, 96 and 100 quarter note (crotchet) beats to the minute. Close
Added: 30th April, 2018 09:04 AM |
Views : 4177
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to change the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. The violoncello part notated in the tenor and bass clefs and a violoncello part is appended to the full score. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. Piano accompaniments are available playing at 84, 88, 92, 96 and 100 quarter note (crotchet) beats to the minute. Close
Added: 30th April, 2018 09:04 AM |
Views : 4265
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece its intention is to break the mood and for this reason is ideally placed as part of the repertoire in the PlentyMusic Café area of study. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. A trombone part is appended to the full score. Piano accompaniments are available playing at 84, 88, 92, 96 and 100 quarter note (crotchet) beats to the minute. Close
Added: 30th April, 2018 09:04 AM |
Views : 3676
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is that of the American march and it can be best described as an example of early “light music.” As a piece composed with the intention of changing the mood it is ideally placed as part of the repertoire in the PlentyMusic Café although it has to be confirmed whether a humorous approach to this piece is a possibility on the oboe. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. Piano accompaniments are available playing at 84, 88, 92, 96 and 100 quarter note (crotchet) beats to the minute. Close
Added: 30th April, 2018 09:04 AM |
Views : 3808
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the score in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious to the point of possibly being humorous. The formal model is that of the American march and the music can best described as being an example of early “light music.” As a piece composed with the intention of changing the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. Piano accompaniments are available playing at 84, 88, 92, 96 and 100 quarter note (crotchet) beats to the minute. Close
Added: 30th April, 2018 08:04 AM |
Views : 3961
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig Show More...
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated generally only at the beginning of scores. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute. A tuba is appended to the full score.Quite a challenge to determine an appropriate tempo in what is music generally played with fluidity and rubato although Fauré himself was regarded as something of a metronome when accompanying singers! The music editor has the view that the movement is often played too quickly. Accompaniments are available at (1) 58, (2) 54 and (3) 50 dotted quarter note (crotchet) beats to the minute. There is a four bar count in to assist the soloist. For any player requiring a bespoke accompaniment please mark a music score with all the detail that you require regarding tempo and dynamics and forward to the PlentyMusic team. We will endeavour to provide a solution. Just drop your edited music score as an image or pdf to the PlentyMusic office. Close
Added: 9th April, 2018 16:04 PM |
Views : 3753
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig Show More...
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated in the first two pages of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute. A viola part is appended to the full score but the con sordina instruction at bar 69 is not actioned in the realisation. Quite a challenge to determine an appropriate tempo in what is music generally played with fluidity and rubato although Fauré himself was regarded as something of a metronome when accompanying singers! The music editor has the view that the movement is often played too quickly. Accompaniments are available at (1) 58, (2) 54 and (3) 50 dotted quarter note (crotchet) beats to the minute. There is a four bar count in to assist the soloist. For any player requiring a bespoke accompaniment please mark a music score with all the detail that you require regarding tempo and dynamics and forward to the PlentyMusic team. We will endeavour to provide a solution. Just drop your edited music score as an image or pdf to the PlentyMusic office. Close
Added: 9th April, 2018 14:04 PM |
Views : 3668
Faure’s Sicilienne is one of the most beautiful melodies of the repertoire. A sicilienne is a slow tempo movement usually in a minor key with liltin Show More...
Faure’s Sicilienne is one of the most beautiful melodies of the repertoire. A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and he has a great awareness of instrument colour even though he preferred others and often his students to orchestrate his music. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements for different instruments explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated generally only at the beginning of scores. The realisation plays at a tempo of 50 dotted quarter notes to the minute. A solo instrumental part is appended to the full score. The middle section in this ternary form movement is essentially a lullaby. Piano accompaniments are in place playing at 46, 48, 50, 52, 54, 56 and 58 dotted quarter note (crotchet) beats to the bar. Performance of this music needs to be controlled and secure. Careful reading of the notes and understanding of all the lines in the music need to be understood and in some cases unravelled! Music that has a modal element tends to be melancholy in character and something of a listening challenge because it sounds different. The plus side is that music with a modal element lends itself to contemporary interpretations and modern instrumentations. The textures are always so considered in Fauré’s music. As a composer he offers a different and unique listening and performing experience. Sadly like many he had the inventiveness to compose much more but responsibilities and the need to earn a living prevented him from doing this. Composing was often limited to the summer months with him often working in isolation. This score was reviewed and updated in November 2025 Close
Added: 9th April, 2018 14:04 PM |
Views : 4617
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig Show More...
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated generally only at the beginning of scores. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. A solo instrumental part notated in the treble and bass clef is appended to the full score. In this arrangement A minor is the chosen key although G minor is the natural and most appropriate key for the work. G minor is however a challenging key for the double bass player whilst the work is definitely playable in A minor. The music editor would appreciate receiving an informed opinion about key options for this work. Piano accompaniments are available at 50 and 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 9th April, 2018 14:04 PM |
Views : 4112
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig Show More...
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated in the first two pages of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute. A violin is appended to the full score but the con sordina instruction at bar 69 is not actioned in the realization. Quite a challenge to determine an appropriate tempo in what is music generally played with fluidity and rubato although Fauré himself was regarded as something of a metronome when accompanying singers! The music editor has the view that the movement is often played too quickly. Accompaniments are available at (1) 58, (2) 54 and (3) 50 dotted quarter note (crotchet) beats to the minute. There is a four bar count in to assist the soloist. For any player requiring a bespoke accompaniment please mark a music score with all the detail that you require regarding tempo and dynamics and forward to the PlentyMusic team. We will endeavour to provide a solution.Just drop your edited music score as an image or pdf to the PlentyMusic office. Close
Added: 9th April, 2018 09:04 AM |
Views : 3662
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig Show More...
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated generally only at the beginning of scores. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute. A solo trombone part notated using the tenor and bass clefs is appended to the full score.Quite a challenge to determine an appropriate tempo in what is music generally played with fluidity and rubato although Fauré himself was regarded as something of a metronome when accompanying singers! The music editor has the view that the movement is often played too quickly. Accompaniments are available at (1) 58, (2) 54 and (3) 50 dotted quarter note (crotchet) beats to the minute. There is a four bar count in to assist the soloist. For any player requiring a bespoke accompaniment please mark a music score with all the detail that you require regarding tempo and dynamics and forward to the PlentyMusic team. We will endeavour to provide a solution. Just drop your edited music score as an image or pdf to the PlentyMusic office. Close
Added: 9th April, 2018 09:04 AM |
Views : 3387
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig Show More...
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated generally only at the beginning of scores. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute. A solo bassoon part notated using the tenor and bass clefs is appended to the full score. Quite a challenge to determine an appropriate tempo in what is music generally played with fluidity and rubato although Fauré himself was regarded as something of a metronome when accompanying singers! The music editor has the view that the movement is often played too quickly. Accompaniments are available at (1) 58, (2) 54 and (3) 50 dotted quarter note (crotchet) beats to the minute. There is a four bar count in to assist the soloist. For any player requiring a bespoke accompaniment please mark a music score with all the detail that you require regarding tempo and dynamics and forward to the PlentyMusic team. We will endeavour to provide a solution. Just drop your edited music score as an image or pdf to the PlentyMusic office. Close
Added: 9th April, 2018 08:04 AM |
Views : 3624
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig Show More...
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and this has been indicated in the opening bars of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute. A tenor saxophone part in Bb part is appended to the full score appropriately transposed as is the same part in the full score. Quite a challenge to determine an appropriate tempo in what is music generally played with fluidity and rubato although Fauré himself was regarded as something of a metronome when accompanying singers! The music editor has the view that the movement is often played too quickly. Accompaniments are available at (1) 58, (2) 54 and (3) 50 dotted quarter note (crotchet) beats to the minute. There is a four bar count in to assist the soloist. For any player requiring a bespoke accompaniment please mark a music score with all the detail that you require regarding tempo and dynamics and forward to the PlentyMusic team. We will endeavour to provide a solution. Just drop your edited music score as an image or pdf to the PlentyMusic office. Close
Added: 9th April, 2018 08:04 AM |
Views : 3651
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig Show More...
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and this has been indicated in the opening bars of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute. A soprano saxophone part is appended to the full score appropriately transposed as is the same part in the full score. Quite a challenge to determine an appropriate tempo in what is music generally played with fluidity and rubato although Fauré himself was regarded as something of a metronome when accompanying singers! The music editor has the view that the movement is often played too quickly. Accompaniments are available at (1) 58, (2) 54 and (3) 50 dotted quarter note (crotchet) beats to the minute. There is a four bar count in to assist the soloist. For any player requiring a bespoke accompaniment please mark a music score with all the detail that you require regarding tempo and dynamics and forward to the PlentyMusic team. We will endeavour to provide a solution. Just drop your edited music score as an image or pdf to the PlentyMusic office. Close
Added: 9th April, 2018 08:04 AM |
Views : 3690
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig Show More...
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and this has been indicated in the opening bars of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute. A clarinet in Bb part is appended to the full score appropriately transposed as is the clarinet part in the full score. Quite a challenge to determine an appropriate tempo in what is music generally played with fluidity and rubato although Fauré himself was regarded as something of a metronome when accompanying singers! The music editor has the view that the movement is often played too quickly. Accompaniments are available at (1) 58, (2) 54 and (3) 50 dotted quarter note (crotchet) beats to the minute. There is a four bar count in to assist the soloist. For any player requiring a bespoke accompaniment please mark a music score with all the detail that you require regarding tempo and dynamics and forward to the PlentyMusic team. We will endeavour to provide a solution. Just drop your edited music score as an image or pdf to the PlentyMusic office. Close
Added: 9th April, 2018 07:04 AM |
Views : 3631
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig Show More...
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and this has been indicated in the opening bars of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute. An oboe part is appended to the full score. Quite a challenge to determine an appropriate tempo in what is music generally played with fluidity and rubato although Fauré himself was regarded as something of a metronome when accompanying singers! The music editor has the view that the movement is often played too quickly. Accompaniments are available at (1) 58, (2) 54 and (3)50 dotted quarter note (crotchet) beats to the minute. There is a four bar count in to assist the soloist. For any player requiring a bespoke accompaniment please mark a music score with all the detail that you require regarding tempo and dynamics and forward to the PlentyMusic team. We will endeavour to provide a solution. Just drop your edited music score as an image or pdf to the PlentyMusic office. Close
Added: 9th April, 2018 07:04 AM |
Views : 2981
Faure’s Sicilienne is one of the most beautiful melodies of the repertoire. A sicilienne is a slow tempo movement usually in a minor key with liltin Show More...
Faure’s Sicilienne is one of the most beautiful melodies of the repertoire. A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and he has a great awareness of instrument colour even though he preferred others and often his students to orchestrate his music. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements for different instruments explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated generally only at the beginning of scores. The realisation plays at a tempo of 50 dotted quarter notes to the minute. A solo instrumental part is appended to the full score. The middle section in this ternary form movement is essentially a lullaby. Piano accompaniments are in place playing at 46, 48, 50, 52 and 54 dotted quarter note (crotchet) beats to the bar. Performance of this music needs to be controlled and secure. Careful reading of the notes and understanding of all the lines in the music need to be understood and in some cases unravelled! Music that has a modal element tends to be melancholy in character and something of a listening challenge because it sounds different. The plus side is that music with a modal element lends itself to contemporary interpretations and modern instrumentations. The textures are always so considered in Fauré’s music. As a composer he offers a different and unique listening and performing experience. Sadly like many he had the inventiveness to compose much more but responsibilities and the need to earn a living prevented him from doing this. Composing was often limited to the summer months with him often working in isolation. This score was reviewed and updated in November 2025 Close
Added: 9th April, 2018 07:04 AM |
Views : 3621
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the oppor Show More...
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of the instrument. The violoncello part is notated in the tenor clef whilst triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A violoncello part is appended to the full score. Close
Added: 22nd February, 2018 17:02 PM |
Views : 4006
This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the o Show More...
This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of the violin. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A violin part is appended to the full score. Close
Added: 22nd February, 2018 17:02 PM |
Views : 3693
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the oppor Show More...
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore the tonal range of the trombone. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. The trombone part is notated in the tenor clef and is appended to the full score. Close
Added: 22nd February, 2018 17:02 PM |
Views : 3713
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the oppor Show More...
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore the tonal range in an instrument. That said there are some octave transpositions in the bassoon. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A bassoon part notated in the tenor clef is appended to the full score. Close
Added: 22nd February, 2018 17:02 PM |
Views : 3792
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the oppor Show More...
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore the tonal range of the tenor saxophone. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A tenor saxophone part is appended to the full score. Close
Added: 22nd February, 2018 15:02 PM |
Views : 4034
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the oppor Show More...
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore the tonal range of the clarinet. That said there are some octave transpositions in the clarinet in Bb part. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A clarinet in Bb part is appended to the full score. Close
Added: 22nd February, 2018 15:02 PM |
Views : 3874
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the oppor Show More...
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore the tonal range of the instrument Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. There are some octave transpositions in the flute part. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A flute part is also appended to the full score. Close
Added: 22nd February, 2018 15:02 PM |
Views : 3791
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A be Show More...
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 66 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure's music is also evident. The solo cello part is marked con sordino although this doesn't feature as the sound in the realisation - the solo part is also appended to the full score. Piano accompaniments are also available. Accompaniment 1 plays at 64 quarter note beats (crotchet) to the minute, Accompaniment 2 at 68 quarter note (crotchet) beats to the minute and Accompaniment 3 at 72 quarter note beats (crotchet) to the minute. Close
Added: 19th February, 2018 10:02 AM |
Views : 3762
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A be Show More...
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 66 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure's music is also evident. The solo violin part is marked con sordino although this doesn't feature as the sound in the realisation - the solo part is also appended to the full score. Piano accompaniments are also available. Accompaniment 1 plays at 64 quarter note beats (crotchet) to the minute, Accompaniment 2 at 68 quarter note (crotchet) beats to the minute and Accompaniment 3 at 72 quarter note beats (crotchet) to the minute. Close
Added: 19th February, 2018 10:02 AM |
Views : 3560
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A be Show More...
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 69 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the piano score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure's music is also evident. There are some octave transpositions in the oboe part and an oboe part is appended to the full score. Piano accompaniments are also available. Accompaniment 1 plays at 68 quarter note beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 76 quarter note beats (crotchet) to the minute. Close
Added: 19th February, 2018 09:02 AM |
Views : 3576
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A be Show More...
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 69 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the piano score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure's music is also evident. This arrangement explores the melody in the lower octave range with tenuto markings included in the score. A flute part is appended to the full score. Piano accompaniments are also available. Accompaniment 1 plays at 68 quarter note beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 76 quarter note beats (crotchet) to the minute. Close
Added: 19th February, 2018 09:02 AM |
Views : 3421
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A be Show More...
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 69 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure's music is also evident. This arrangement explores the upper range of the instrument with the tenuto markings omitted from the score. A flute part is appended to the full score. Piano accompaniments are also available. Accompaniment 1 plays at 68 quarter note beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 76 quarter note beats (crotchet) to the minute. Close
Added: 19th February, 2018 08:02 AM |
Views : 3515
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 : 3861
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 : 4515
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 : 3625
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 : 2867
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 : 3505
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 : 3508
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 : 3428
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 : 3816
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the strong melodic element in this miniature explores in its original version quite a melodic range although there are some octave transpositions in this arrangement for French horn and piano. A tempo of 58 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. A horn in F (French horn) part appropriately transposed is appended to the full score. Close
Added: 15th December, 2017 17:12 PM |
Views : 3144
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the piece has a strong melodic element. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. A tuba part is appended to the full score. Close
Added: 15th December, 2017 15:12 PM |
Views : 3183
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the piece has a strong melodic element especially suited to the tenor range instruments. A tempo of 58 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. A trombone part is appended to the full score. Close
Added: 15th December, 2017 14:12 PM |
Views : 3134
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the piece has a strong melodic element A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. A trumpet in Bb part appropriately transposed is appended to the full score. Close
Added: 15th December, 2017 14:12 PM |
Views : 3127
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and there is strong melodic element in this miniature A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in this arrangement for violin and piano. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. An appended violin part is appended to the full score. Close
Added: 15th December, 2017 14:12 PM |
Views : 3033
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and there is strong melodic element in this miniature A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in this arrangement for viola and piano. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. An appended viola part is appended to the full score. Piano accompaniments are in place. Close
Added: 15th December, 2017 14:12 PM |
Views : 3135
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the strong melodic element in this miniature explores in its original version quite a melodic range although there are some octave transpositions in this arrangement for violoncello and piano. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. A violoncello part is appended to the full score. Close
Added: 15th December, 2017 14:12 PM |
Views : 3490
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the strong melodic element in this miniature explores in its original version quite a melodic range although there are some octave transpositions in this arrangement for bassoon and piano. A tempo of 58 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. A bassoon part is appended to the full score. Close
Added: 14th December, 2017 12:12 PM |
Views : 2763
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and there is a strong melodic element in this miniature. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. An appended tenor saxophone part appropriately transposed is appended to the full score. Close
Added: 14th December, 2017 12:12 PM |
Views : 3370
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the strong melodic element in this miniature explores in its original version quite a melodic range although there are some octave transpositions in this arrangement for alto saxophone and piano. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. An appended solo alto saxophone part appropriately transposed is appended to the full score. Close
Added: 14th December, 2017 12:12 PM |
Views : 3373
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the strong melodic element in this miniature explores in its original version quite a melodic range although there are some octave transpositions in the last phrase of this arrangement for clarinet in A and piano. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. An appended solo clarinet in A part appropriately transposed is appended to the full score. Close
Added: 14th December, 2017 12:12 PM |
Views : 3134
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the strong melodic element in this miniature explores in its original version quite a melodic range. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. An appended solo clarinet in B flat part appropriately transposed is appended to the full score. Piano accompaniments are in place although it is a tricky start for the clarinettist.
Count carefully! Close
Added: 14th December, 2017 12:12 PM |
Views : 3271
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the strong melodic element in this miniature explores in its original version quite a melodic range although there are some octave transpositions in this arrangement for English horn and piano. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. An appended English horn part appropriately transposed is appended to the full score. Close
Added: 14th December, 2017 12:12 PM |
Views : 2948
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the strong melodic element in this miniature explores which explores quite a range. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. An oboe part is appended to the full score. Close
Added: 14th December, 2017 11:12 AM |
Views : 3334
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the strong melodic element in this miniature explores in its original version quite a melodic range. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. An appended solo instrument part is appended to the full score Close
Added: 14th December, 2017 11:12 AM |
Views : 3216
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet in Bb, trombon Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet in Bb, trombone and piano the sounding key is Ab whilst the realisation tempo is at 76 quarter note (crotchet) beats to the minute and the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Trumpet in Bb and trombone parts are appended to the full score. Piano accompaniments are available as mp3 downloads at tempi of 72, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 21st November, 2017 08:11 AM |
Views : 5299
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for clarinet in Bb, bassoo Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for clarinet in Bb, bassoon and piano the sounding key is Ab whilst the realisation tempo is 76 quarter note (crotchet) beats to the minute and the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Clarinet in Bb and bassoon parts are appended to the full score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 21st November, 2017 08:11 AM |
Views : 4633
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for soprano and alto saxop Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for soprano and alto saxophones with piano accompaniment and piano the sounding key is Ab whilst the realisation tempo is at 76 quarter note (crotchet) beats to the minute with the repeats not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 21st November, 2017 08:11 AM |
Views : 5361
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for two clarinets in Bb wi Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for two clarinets in Bb with piano accompaniment the realisation tempo is 76 quarter note (crotchet) beats to the minute with the repeats not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. The clarinet in Bb parts have been appended so as to allow players to perhaps share the repeats. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 21st November, 2017 08:11 AM |
Views : 4100
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for flute, clarinet in Bb Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for flute, clarinet in Bb and piano the sounding key is Ab The realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 68, 72, and 76 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 21st November, 2017 08:11 AM |
Views : 5266
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for 2 flutes and piano the Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for 2 flutes and piano the sounding key is G whilst the realisation tempo is 76 quarter note (crotchet) beats to the minute with the repeats not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. The two flute parts have been appended together so as to allow players to perhaps share the repeats. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 20th November, 2017 17:11 PM |
Views : 4480
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trombone and piano the Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trombone and piano the sounding key is Ab and the tenor clef has been used for the notation of the solo part after the introductory section. The realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score.Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 20th November, 2017 17:11 PM |
Views : 2800
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for tuba and piano the sou Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for tuba and piano the sounding key is Ab. The realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 72, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 20th November, 2017 17:11 PM |
Views : 4564
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for violin and piano the s Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for violin and piano the sounding key is G. The realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score.Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 20th November, 2017 16:11 PM |
Views : 4320
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for viola with piano accom Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for viola with piano accompaniment the realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Remember that ragtime music should not be played too fast.Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 20th November, 2017 16:11 PM |
Views : 4195
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for violoncello and piano Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for violoncello and piano the sounding key is G and the tenor clef is used for the notation of the violoncello part after the 4 bar introduction. The realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally follow the structure of the typical American March which can be represented by letters as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 20th November, 2017 16:11 PM |
Views : 4344
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet and piano the Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet and piano the sounding key is Ab. The realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 15th November, 2017 19:11 PM |
Views : 4306
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for bassoon and piano the Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for bassoon and piano the sounding key is G and the tenor clef has been used for the notation of the bassoon part after the 4 bar introduction. The realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 15th November, 2017 18:11 PM |
Views : 2740
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for tenor saxophone and pi Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for tenor saxophone and piano the sounding key is Ab and both the full score and the appended solo tenor saxophone part are appropriately transposed. The realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 15th November, 2017 18:11 PM |
Views : 3789
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for soprano saxophone with Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for soprano saxophone with piano accompaniment the realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. Both the full score and the appended solo soprano saxophone version have the saxophone part appropriately transposed. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 15th November, 2017 17:11 PM |
Views : 4140
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for oboe and piano the sou Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for oboe and piano the sounding key is G. The realisation tempo is 76 quarter quarter note beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 14th November, 2017 19:11 PM |
Views : 4376
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement, sounding in Ab the clari Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement, sounding in Ab the clarinet in Bb part is transposed in both the full score and the appended solo part. The realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 68, 72, 76, and 80 quarter note (crotchet) beats to the minute. The repeats are not played in the accompaniments and there is a four bar count in at the beginning. Close
Added: 14th November, 2017 13:11 PM |
Views : 4659
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for flute and piano the s Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for flute and piano the sounding key is G. The realisation tempo is 76 quarter quarter note (crotchet) beats to the minute and the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note (crotchet) beats to the minute sounds quite slow and yet 80 quarter note (crotchet) beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 14th November, 2017 13:11 PM |
Views : 4346
This arrangement for violoncello with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D common Show More...
This arrangement for violoncello with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly referred to as “Notturno” meaning night piece. It is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. Some octave transpositions have been applied to the parts. A tempo of 70 quarter note beats to the minute is used in the realisation. There are 4 sections in the arrangement – theme, repeat of the theme repeated with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. Wherever possible material from the original work, which dates from 1881, has been incorporated into the arrangement although the appoggiaturas that appear in the original string quartet version have been omitted. A violoncello part is appended to the full score. Close
Added: 31st August, 2017 08:08 AM |
Views : 4333
This arrangement for viola with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly re Show More...
This arrangement for viola with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly referred to as “Notturno” meaning night piece. It is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. Some octave transpositions have been applied to the parts. A tempo of 70 quarter note beats to the minute is used in the realisation. There are 4 sections in the arrangement – theme, repeat of the theme repeated with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. Wherever possible material from the original work, which dates from 1881, has been incorporated into the arrangement although the appoggiaturas that appear in the original string quartet version have been omitted. A viola part is appended to the full score. Close
Added: 31st August, 2017 08:08 AM |
Views : 4070
This arrangement for violin with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly re Show More...
This arrangement for violin with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly referred to as “Notturno” meaning night piece. It is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. Some octave transpositions have been applied to the parts. A tempo of 70 quarter note beats to the minute is used in the realisation. There are 4 sections in the arrangement – theme, repeat of the theme repeated with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. Wherever possible material from the original work which, dates from 1881, has been incorporated into the arrangement although the appoggiaturas that appear in the original string quartet version have been omitted. A violin part is appended to the full score. Close
Added: 31st August, 2017 08:08 AM |
Views : 3980
This arrangement for trombone with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly Show More...
This arrangement for trombone with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly referred to as “Notturno” meaning night piece. It is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. Some octave transpositions have been applied and the player has the option of exploring the octave range of the instrument in the the repeat of the thematic material. A tempo of 70 quarter note beats to the minute is used in the realisation. There are 4 sections in the arrangement – theme, repeat of the theme repeated with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. Wherever possible material from the original work, which dates from 1881, has been incorporated into the arrangement although the appoggiaturas that appear in the original string quartet version have been omitted. A trombone part is appended to the full score. Close
Added: 31st August, 2017 08:08 AM |
Views : 4124
This arrangement for trumpet in Bb with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D com Show More...
This arrangement for trumpet in Bb with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly referred to as “Notturno” meaning night piece. It is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. Some octave transpositions have been applied and the player has the option of exploring the octave range of the instrument in the the repeat of the thematic material. A tempo of 70 quarter note beats to the minute is used in the realisation. There are 4 sections in the arrangement – theme, repeat of the theme repeated with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. Wherever possible material from the original work dating from 1881 has been incorporated into the arrangement although the appoggiaturas that appear in the original string quartet version have been omitted. A trumpet in Bb part appropriately transposed is appended to the full score which is notated at pitch. Close
Added: 31st August, 2017 08:08 AM |
Views : 4187
This arrangement for bassoon with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. The movem Show More...
This arrangement for bassoon with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. The movement is commonly referred to as “Notturno” meaning night piece and is a very melodic and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts and the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work, dating from 1881, has been incorporated into the arrangement. Some instrumentalists may want to review and possibly change some of the the octave transpositions in bar 72. A bassoon part is appended to a copy of the full score. Close
Added: 30th August, 2017 13:08 PM |
Views : 4207
This arrangement for tenor saxophone with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2. The mo Show More...
This arrangement for tenor saxophone with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2. The movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts and the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work, dating from 1881, has been incorporated into the arrangement. The tenor saxophone part is appropriately transposed in both in the full score and the appended solo part. Close
Added: 30th August, 2017 13:08 PM |
Views : 4049
This arrangement for alto saxophone with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D and Show More...
This arrangement for alto saxophone with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D and dates from 1881. The movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts and the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work has been incorporated into the arrangement. The alto saxophone part is appropriately transposed in both in the full score and the appended solo part. Close
Added: 30th August, 2017 13:08 PM |
Views : 2792
The arrangement for clarinet in Bb with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. the Show More...
The arrangement for clarinet in Bb with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. the movement is commonly referred to as “Notturno” meaning night piece. It is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts whilst the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work, which dates from 1881, has been incorporated into the arrangement. An individual clarinet in Bb part appropriately transposed is appended to the full score Close
Added: 30th August, 2017 13:08 PM |
Views : 4257
This arrangement for English horn with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commo Show More...
This arrangement for English horn with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly referred to as “Notturno” meaning night piece. It is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. Some octave transpositions have been applied to the parts, in fact the solo player may want to adjust the position of the octave transposition in bar 72. A tempo of 70 quarter note beats to the minute is used in the realisation. There are 4 sections in the arrangement – theme, repeat of the theme repeated with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. Wherever possible material from the original work, which dates from 1881, has been incorporated into the arrangement although the appoggiaturas that appear in the original string quartet version have been omitted. A solo English horn part appropriately transposed is appended to a copy of the full score. Close
Added: 30th August, 2017 13:08 PM |
Views : 4254
This arrangement for oboe with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly refe Show More...
This arrangement for oboe with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly referred to as “Notturno” meaning night piece. It is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. Some octave transpositions have been applied to the parts, in fact the solo player may want to adjust the position of the octave transposition in bar 72. A tempo of 70 quarter note beats to the minute is used in the realisation. There are 4 sections in the arrangement – theme, repeat of the theme repeated with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. Wherever possible material from the original work, which dates from 1881, has been incorporated into the arrangement. The appoggiaturas that appear in the string quartet score have been omitted. An oboe part is appended to the full score. Close
Added: 30th August, 2017 13:08 PM |
Views : 3973
This arrangement for flute with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly ref Show More...
This arrangement for flute with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly referred to as “Notturno” meaning night piece. It is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. Some octave transpositions have been applied to the parts, in fact the solo player may want to adjust the position of the octave transposition in bar 72. A tempo of 70 quarter note beats to the minute is used in the realisation. There are 4 sections in the arrangement – theme, repeat of the theme repeated with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. Wherever possible material from the original work, which dates from 1881, has been incorporated into the arrangement. The appoggiaturas that appear in the string quartet score have been omitted. A flute part is appended to the full score. Close
Added: 30th August, 2017 12:08 PM |
Views : 3975
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option. This is an excellent piece of music to explore performing music at a slow tempo as it very easy for instrumentalists to play a melody too quickly. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. I would suggest listening to a number of recordings of performances particularly by singers to gain an understanding of how music can be delivered and also understand how arrangements can differ. A viola part is appended to the full score whilst the small acciaccatura (crushed notes) do not sound in the realisation. Piano accompaniments t are available playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 14th August, 2017 08:08 AM |
Views : 3661
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option. This is an excellent piece of music to explore performing music at a slow tempo as it very easy for instrumentalists to play a melody too quickly. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument I would suggest listening to a number of recordings of performances particularly by singers to gain an understanding of how music can be delivered and also understand how arrangements can differ. A violin part is appended to the full score whilst the small acciaccatura (crushed notes) do not sound in the realisation. Piano accompaniments are available playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 14th August, 2017 08:08 AM |
Views : 3734
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option. This is an excellent piece of music to explore performing music slowly. It is very easy for instrumentalists to play the melody too quickly. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument I would suggest listening to a number of recordings of performances particularly by singers to gain an understanding of how music can be arranged. A trombone part is appended to the full score. Piano accompaniments that reflect the ABA structure are available playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 12th August, 2017 19:08 PM |
Views : 3744
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option whilst the crushed notes do not sound in the realisation. This is an excellent piece to explore playing at a slow tempo. I would suggest listening to a number of recordings of performances particularly by singers to gain an understanding of how this music can be performed. A horn in F part is appended to the full score and as is the convention key signatures have not been used in the solo horn part and all accidentals to be played are marked in the score. Piano accompaniments are available playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 12th August, 2017 19:08 PM |
Views : 3708
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. The use of ornamentation is minimal and there are just two which appear in the final section. The other small crushed notes in the melody line do not sound in the realisation.They are probably best left out during the early stages of learning the piece. This is an excellent piece of music to explore the possibilities of performing music slowly. It is very easy for instrumentalists to play the melody too quickly. Close
Added: 12th August, 2017 19:08 PM |
Views : 3678
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option whilst the acciaccaturas (crushed notes) do not sound in the realisation. This is an excellent piece to explore playing at a slow tempo. Listen to a number of recordings of performances particularly by singers to gain an understanding of how this music can be performed. A tenor saxophone part is appended to the full score. Piano accompaniments are available playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 12th August, 2017 16:08 PM |
Views : 3563
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option whilst the acciaccaturas (crushed notes) do not sound in the realisation. This is an excellent piece to explore playing at a slow tempo. Listen to a number of recordings of performances particularly by singers to gain an understanding of how this music can be performed. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. A soprano saxophone part is appended to the full score. Piano accompaniments are available playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 12th August, 2017 16:08 PM |
Views : 3316
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option whilst the acciaccaturas (crushed notes) do not sound in the realisation. This is an excellent piece to explore playing at a slow tempo. Listen to a number of recordings of performances particularly by singers to gain an understanding of how this music can be performed. An alto saxophone part is appended to the full score. Close
Added: 12th August, 2017 16:08 PM |
Views : 3642
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. I Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. In this arrangement in the key of Eb, a tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. As far as the solo part is concerned, there are just two ornaments which appear in the final section as a performance option whilst the acciaccaturas (crushed notes) do not sound in the realisation. This is an excellent piece to explore playing at a slow tempo. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. Listen to a number of recordings of performances particularly by singers to gain an understanding of how this music can be performed. An appropriately transposed clarinet in Bb part is appended to the full score which is notated at pitch. Piano accompaniments are available playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 12th August, 2017 16:08 PM |
Views : 3546
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of 45 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option. This is an excellent piece of music to explore performing music at a slow tempo as it very easy for instrumentalists to play a melody too quickly. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. Listen to a number of recordings of performances particularly by singers to gain an understanding of how music can be delivered and also understand how arrangements can differ. A cello part is appended to the full score whilst the small acciaccatura (crushed notes) do not sound in the realisation. Piano accompaniments playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 11th August, 2017 16:08 PM |
Views : 3664
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. I Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. In this arrangement in the key of F, a tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. As far as the solo part is concerned, there are just two ornaments which appear in the final section as a performance option whilst the acciaccaturas (crushed notes) do not sound in the realisation. This is an excellent piece to explore playing at a slow tempo. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. Listen to a number of recordings of performances particularly by singers to gain an understanding of how this music can be performed. An appropriately transposed clarinet in Bb part is appended to the full score which is notated at pitch. Piano accompaniments available playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 11th August, 2017 12:08 PM |
Views : 3306
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. As far as the solo part is concerned, there are just two ornaments which appear in the final section as a performance option whilst the acciaccaturas (crushed notes) do not sound in the realisation. This is an excellent piece to explore playing at a slow tempo. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. Listen to a number of recordings of performances particularly by singers to gain an understanding of how this music can be performed. A English horn part is appended to the full score. Close
Added: 11th August, 2017 11:08 AM |
Views : 3374
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of 45 dotted quarter notes (crotchets) to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. As far as the solo part is concerned, there are just two ornaments which appear in the final section as a performance option whilst the acciaccaturas (crushed notes) do not sound in the realisation. This is an excellent piece to explore playing at a slow tempo. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. Listen to a number of recordings of performances particularly by singers to gain an understanding of how this music can be performed. An oboe part is appended to the full score.Piano accompaniments playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 11th August, 2017 11:08 AM |
Views : 3785
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. As far as the solo part is concerned, there are just two ornaments which appear in the final section as a performance option whilst the crushed notes do not sound in the realisation. This is an excellent piece to explore playing at a slow tempo. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. Listen to a number of recordings of performances particularly by singers to gain an understanding of how this music can be performed. A flute part is appended to the full score. Piano accompaniments are available playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 11th August, 2017 11:08 AM |
Views : 3492
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of 45 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. As far as the solo part is concerned, there are just two ornaments which appear in the final section as a performance option whilst the crushed notes do not sound in the realisation. This is an excellent piece to explore playing at a slow tempo. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. It would be worthwhile spending time listening to a number of recordings of performances particularly by singers to gain an understanding of how this music can be performed. A flute part is appended to the full score. Piano accompaniments are available playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 11th August, 2017 11:08 AM |
Views : 3526
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement transposed to G minor a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. A solo tuba in part is appended to the full score. The music editor is interested in hearing feedback as to the appropriateness of the choice of key. Accompaniments are available and play at the following tempi (1) 58 (2) 56 (3) 54 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 27th July, 2017 11:07 AM |
Views : 4061
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement transposed to G minor a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation and the tenor clef has been used in the notation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. A solo trombone in part is appended to the full score.Accompaniments are available and play at the following tempi (1) 58 (2) 56 (3) 54 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 27th July, 2017 10:07 AM |
Views : 3655
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement in D minor a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. An appropriately transposed solo trumpet in Bb part is appended to the full score.Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 27th July, 2017 10:07 AM |
Views : 3512
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. An appropriately transposed solo trumpet in Bb features in both the full score and the appended solo part.Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 27th July, 2017 08:07 AM |
Views : 3115
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. A solo bassoon part is appended to the full score.Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 27th July, 2017 08:07 AM |
Views : 3580
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. A tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation and in this arrangement in the key of D minor the thematic material is explored an octave lower for the eight bar section beginning at bar 17. There is also an octave option towards the end of the movement which is given on an ossia staff. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s context. A solo violin part is appended to the full score.Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 25th July, 2017 18:07 PM |
Views : 3749
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. A tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation and in this arrangement the thematic material is explored an octave higher in the varied repeat beginning at bar 17. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s context. A solo violin part is appended to the full score. Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 25th July, 2017 12:07 PM |
Views : 3532
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. A solo viola part is appended to the full score. Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 25th July, 2017 06:07 AM |
Views : 3522
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. A tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation and in this arrangement the thematic material is explored an octave higher in the varied repeat beginning at bar 17. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. A solo violoncello part is appended to the full score. Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 24th July, 2017 11:07 AM |
Views : 3761
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. The full score and appended solo part have the tenor saxophone part appropriately transposed. Accompaniments are available and play at the following tempi (1) 58 (2) 56 (3) 54 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 24th July, 2017 10:07 AM |
Views : 3646
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. The full score and appended solo part have the soprano saxophone part appropriately transposed. Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 24th July, 2017 10:07 AM |
Views : 3622
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. The full score and appended solo part have the English horn part appropriately transposed.Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 24th July, 2017 09:07 AM |
Views : 3764
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. A tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s context. A solo flute part of this intermediate version is appended to the full score. Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 24th July, 2017 08:07 AM |
Views : 3367
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo trumpet part appropriately transposed is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3780
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo tuba part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3146
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo trombone part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3409
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo viola part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3197
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo violin part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3389
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo violoncello part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3860
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. The tenor saxophone in both the full score and the appended solo part is shown transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3312
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3236
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. The full score is notated at pitch whilst the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3132
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. The full score is notated at pitch whilst the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3329
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fost Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. The full score is notated at pitch whilst the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3315
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3364
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3254
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and do not sound in the realisation. The sounding key is D which allows the repeat of the song melody section is played an octave higher. Close
Added: 27th July, 2017 11:07 AM |
Views : 3055
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A trombone part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3649
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A viola part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3531
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A violin part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3642
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 53 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A cello part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3968
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and the music editor suggests leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and the suggestion is that it should be played at a a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A bassoon part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3502
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A tenor saxophone part appropriately transposed is appendedto the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3779
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and the small notes are probably best omitted when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and the music editors suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. Whilst the full score copy is notated with the alto saxophone at sounding pitch the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3652
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and the small notes are probably best omitted when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and the music editor suggests that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. Whilst the full score copy is notated with the clarinet in Bb at sounding pitch the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3476
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. Whilst the full score copy is notated with the soprano saxophone at sounding pitch the appended saxophone part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3709
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and the small notes are best omitted when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and the music editor suggests that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. An oboe part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3655
The Waltz was a popular musical form during the romantic period favoured particularly in the salon / drawing room context. The movement needs to move Show More...
The Waltz was a popular musical form during the romantic period favoured particularly in the salon / drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the piece. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A flute part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3635
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic m Show More...
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. A cello part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3650
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic m Show More...
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. A viola part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3686
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic m Show More...
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. A violin part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3630
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic Show More...
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. A bassoon part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3532
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic m Show More...
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. Whilst full score copy is notated with the soprano saxophone at sounding pitch the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3581
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic Show More...
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. Whilst the full score copy is notated with the alto saxophone at sounding pitch the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3500
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic Show More...
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. The appended score has the solo clarinet in Bb part appropriately transposed whilst the full score copy is notated with the clarinet at sounding pitch. Close
Added: 27th July, 2017 11:07 AM |
Views : 3500
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic Show More...
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation and only one note in the melody has been transposed an octave upwards. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. A flute part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3471
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfils the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. A cello part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3741
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfils the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. A viola part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3695
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfils the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. A violin part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3641
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfils the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. A trombone part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3657
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. Both the full score and appended solo tenor saxophone parts are notated at transposed pitch. Close
Added: 27th July, 2017 11:07 AM |
Views : 3915
Fernando Sor's L'Encouragement Opus 34 originally for guitar duet, comprises three movements intended to be performed as a continuous movement althou Show More...
Fernando Sor's L'Encouragement Opus 34 originally for guitar duet, comprises three movements intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA(ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. The full score copy is notated with the alto saxophone at sounding pitch and the appended score has the solo alto saxophone part appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3986
Fernando Sor's L'Encouragement Opus 34 originally for guitar duet, comprises three movements intended to be performed as a continuous movement althou Show More...
Fernando Sor's L'Encouragement Opus 34 originally for guitar duet, comprises three movements intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. The appended score has the solo soprano saxophone part appropriately transposed whilst the full score copy is notated with the soprano saxophone at sounding pitch. Close
Added: 27th July, 2017 11:07 AM |
Views : 3868
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement althou Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfils the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA(ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. A bassoon part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3685
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement althou Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. The appended score has the clarinet in Bb part appropriately transposed whilst the full score copy is notated with the clarinet at sounding pitch. Close
Added: 27th July, 2017 11:07 AM |
Views : 3682
Fernando Sor's L'Encouragement Opus 34 , originally for guitar duet, comprises three movements which were intended to be performed as a continuous mo Show More...
Fernando Sor's L'Encouragement Opus 34 , originally for guitar duet, comprises three movements which were intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement has a clear two beats to the bar feel to it. An oboe part is appended to the full music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3760
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements which were intended to be performed as a continuous mov Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements which were intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement has a clear two beats to the bar feel to it. A flute part is appended to the full music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3573
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for violoncello with piano accompaniment sounding in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. The solo violoncello part is appended to the full score. There are three accompaniments available playing at 96, 92 and 88 dotted quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3719
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for tuba with piano accompaniment sounding in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. The solo tuba part is appended to the full score.There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3563
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for trumpet in Bb with piano accompaniment sounding in the key of Eb a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. Observe that the full score has the trumpet in Bb part notated at pitch whilst the appended solo part is appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3959
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for tenor saxophone with piano accompaniment sounding in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. Observe that the full score has the tenor saxophone part notated at pitch whilst the appended solo part is appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4188
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for soprano saxophone with piano accompaniment sounding in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. Observe that the full score has the soprano saxophone part notated at pitch whilst the appended solo part has the soprano saxophone part appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3450
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for flute with piano accompaniment in the key of C a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. The solo flute part is also appended to the full score. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3347
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for clarinet in Bb with piano accompaniment sounding in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. Observe that the full score has the clarinet part notated at pitch whilst the appended solo part has the clarinet part appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3)88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3435
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for bassoon with piano accompaniment in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of the tempo. The solo bassoon part is appended to the full score. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3492
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for alto saxophone with piano accompaniment in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. Observe that the full score has the alto saxophone notated at pitch whilst the appended solo part has the same part appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3960
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for violin accompanied by piano, the tempo of the realisat Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for violin accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 3468
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for viola accompanied by piano, the tempo of the realisati Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for viola accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 4025
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for trumpet in Bb accompanied by piano, the tempo of the Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for trumpet in Bb accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 3662
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for trumpet in Bb accompanied by piano, the tempo of the Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for trumpet in Bb accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download with the trumpet part appropriately transposed. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 3598
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for trombone accompanied by piano, the tempo of the realis Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for trombone accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 3596
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for tenor saxophone accompanied by piano, the tempo of the Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for tenor saxophone accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download with the tenor saxophone part appropriately transposed. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 3885
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for oboe accompanied by piano, the tempo of the realisatio Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for oboe accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Piano accompaniments are also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3705
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for horn in F (French horn) accompanied by piano, the temp Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for horn in F (French horn) accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download with the horn in F part appropriately transposed. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 3731
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for flute accompanied by piano, the tempo of the realisati Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for flute accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 2761
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for English horn (Cor Anglais) accompanied by piano, the t Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for English horn (Cor Anglais) accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download with the English horn part appropriately transposed. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 3869
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for clarinet in Bb accompanied by piano, the tempo of the Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for clarinet in Bb accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download with the clarinet part appropriately transposed. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 3646
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for bassoon accompanied by piano, the tempo of the realisa Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for bassoon accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 3630
Traümerie (Dreaming) was originally a piano work from Robert Schumann's "Scenes of Childhood" Opus 16 published in 1838. It is a very familiar piec Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's "Scenes of Childhood" Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 4090
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 4192
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 3970
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 3313
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 3715
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 3819
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 3882
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 4011
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Show More...
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. In the arrangements for solo instrument with piano accompaniment some voicing changes have been made to the piano part to aid clarity and musicianship. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music edtor's preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Piano accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute. There is a two bar introductory click track sounding on the woodblock before the movement begins. If players need a click track added for the cadenza at bars 48-49 please advise the PlentyMusic office. Close
Added: 27th July, 2017 11:07 AM |
Views : 3604
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Show More...
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. In the arrangements for solo instrument with piano accompaniment some voicing changes have been made to the piano part to aid clarity and musicianship. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music editor's preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Piano accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute. There is a two bar introductory click track sounding on the woodblock before the movement begins. If players need a click track added for the cadenza at bars 48-49 please advise the PlentyMusic office. Close
Added: 27th July, 2017 11:07 AM |
Views : 3357
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Show More...
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. In the arrangements for solo instrument with piano accompaniment some voicing changes have been made to the piano part to aid clarity and musicianship. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music editor's preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Piano accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute. There is a two bar introductory click track sounding on the woodblock before the movement begins. If players need a click track added for the cadenza at bars 48-49 please advise the PlentyMusic office. Close
Added: 27th July, 2017 11:07 AM |
Views : 3386
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Show More...
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. In the arrangements for solo instrument with piano accompaniment some voicing changes have been made to the piano part to aid clarity and musicianship. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music editor's is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Piano accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute. There is a two bar introductory click track sounding on the woodblock before the movement begins. If players need a click track added for the cadenza at bars 48-49 please advise the PlentyMusic office. Close
Added: 27th July, 2017 11:07 AM |
Views : 3656
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Show More...
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. In the arrangements for solo instrument with piano accompaniment some voicing changes have been made to the piano part to aid clarity and musicianship. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music editor's preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences.
Piano accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute. There is a two bar introductory click track sounding on the woodblock before the movement begins. If players need a click track added for the cadenza at bars 48-49 please advise the PlentyMusic office. Close
Added: 27th July, 2017 11:07 AM |
Views : 3467
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Show More...
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. In the arrangements for solo instrument with piano accompaniment some voicing changes have been made to the piano part to aid clarity and musicianship. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music editor's preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Piano accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute. There is a two bar introductory click track sounding on the woodblock before the movement begins. If players need a click track added for the cadenza at bars 48-49 please advise the PlentyMusic office. Close
Added: 27th July, 2017 11:07 AM |
Views : 3695
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Show More...
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. In the arrangements for solo instrument with piano accompaniment some voicing changes have been made to the piano part to aid clarity and musicianship. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music editors preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Piano accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute. There is a two bar introductory click track sounding on the woodblock before the movement begins. If players need a click track added for the cadenza at bars 48-49 please advise the PlentyMusic office. Close
Added: 27th July, 2017 11:07 AM |
Views : 3952
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Show More...
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. In the arrangements for solo instrument with piano accompaniment some voicing changes have been made to the piano part to aid clarity and musicianship. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music editor's preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Piano accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute. There is a two bar introductory click track sounding on the woodblock before the movement begins. If players need a click track added for the cadenza at bars 48-49 please advise the PlentyMusic office. Close
Added: 27th July, 2017 11:07 AM |
Views : 3626
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Show More...
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. In the arrangements for solo instrument with piano accompaniment some voicing changes have been made to the piano part to aid clarity and musicianship. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music editor's preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Piano accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute. There is a two bar introductory click track sounding on the woodblock before the movement begins. If players need a click track added for the cadenza at bars 48-49 please advise the PlentyMusic office. Close
Added: 27th July, 2017 11:07 AM |
Views : 3487
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrumen Show More...
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument combinations. It features the habanera pattern in the accompaniment often combined with a colourful melody line notated in triplets. The modal shift to flat 6th is also very suggestive of Spanish music as is the general compositional model. A tempo of 63 quarter notes to the minute is used in the realisation although tempo wise there is scope slowing down and speeding up when it is appropriate and this is reflected in the realisation. This is a an excellent piece for developing sensitive ensemble playing. The solo violin part is appended to the full score. Piano accompaniments are available playing at 60, 63, and 66 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3736
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrumen Show More...
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument combinations. It features the habanera pattern in the accompaniment often combined with a colourful melody line notated in triplets. The modal shift to flat 6th is also very suggestive of Spanish music as is the general compositional model. A tempo of 63 quarter notes to the minute is used in the realisation although tempo wise there is scope slowing down and speeding up when it is appropriate and this is reflected in the realisation. This is a an excellent piece for developing sensitive ensemble playing. A solo oboe part is appended to the full score. Piano accompaniments are available playing at 60, 63 and 66 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3489
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrumen Show More...
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument combinations. It features the habanera pattern in the accompaniment often combined with a colourful melody line notated in triplets. The modal shift to flat 6th is also very suggestive of Spanish music as is the general compositional model. A tempo of 63 quarter notes to the minute is used in the realisation although tempo wise there is scope slowing down and speeding up when it is appropriate and this is reflected in the realisation. This is a an excellent piece for developing sensitive ensemble playing. A solo violoncello part is appended to the full score. Piano accompaniments are available playing at 60, 63, and 66 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3524
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrumen Show More...
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument combinations. It features the habanera pattern in the accompaniment often combined with a colourful melody line notated in triplets. The modal shift to flat 6th is also very suggestive of Spanish music as is the general compositional model. A tempo of 63 quarter notes to the minute is used in the realisation although tempo wise there is scope slowing down and speeding up when it is appropriate and this is reflected in the realisation. This is a an excellent piece for developing sensitive ensemble playing. A solo viola part is appended to the full score. Piano accompaniments are available playing at 60, 63, and 66 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3891
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrumen Show More...
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument combinations. It features the habanera pattern in the accompaniment often combined with a colourful melody line notated in triplets. The modal shift to flat 6th is also very suggestive of Spanish music as is the general compositional model. A tempo of 63 quarter notes to the minute is used in the realisation although tempo wise there is scope slowing down and speeding up when it is appropriate and this is reflected in the realisation. This is a an excellent piece for developing sensitive ensemble playing. A transposed solo tenor saxophone part is appended to the full score which is notated at sounding pitch. Piano accompaniments are available playing at 60, 63, and 66 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3772
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrumen Show More...
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument combinations. It features the habanera pattern in the accompaniment often combined with a colourful melody line notated in triplets. The modal shift to flat 6th is also very suggestive of Spanish music as is the general compositional model. A tempo of 63 quarter notes to the minute is used in the realisation although tempo wise there is scope slowing down and speeding up when it is appropriate and this is reflected in the realisation. This is a an excellent piece for developing sensitive ensemble playing. A solo flute part is also appended to the full score. Piano accompaniments are available playing at 60, 63, and 66 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3342
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument Show More...
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument combinations. It features the habanera pattern in the accompaniment often combined with a colourful melody line notated in triplets. The modal shift to flat 6th is also very suggestive of Spanish music as is the general compositional model. A tempo of 63 quarter notes to the minute is used in the realisation although tempo wise there is scope slowing down and speeding up when it is appropriate and this is reflected in the realisation. This is a an excellent piece for developing sensitive ensemble playing. A transposed solo clarinet part is appended to the full score which is notated at sounding pitch. Piano accompaniments are available playing at 60, 63, and 66 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3909
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrumen Show More...
This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument combinations. It features the habanera pattern in the accompaniment often combined with a colourful melody line notated in triplets. The modal shift to flat 6th is also very suggestive of Spanish music as is the general compositional model. A tempo of 63 quarter notes to the minute is used in the realisation although tempo wise there is scope slowing down and speeding up when it is appropriate and this is reflected in the realisation. This is a an excellent piece for developing sensitive ensemble playing. A bassoon part is appended to the full score. Piano accompaniments are available playing at 60, 63, and 66 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3433
This is a charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument com Show More...
This is a charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument combinations. It features the habanera pattern in the accompaniment often combined with a colourful melody line notated in triplets. The modal shift to flat 6th is also very suggestive of Spanish music as is the general compositional model. A tempo of 63 quarter notes to the minute is used in the realisation although tempo wise there is scope slowing down and speeding up when it is appropriate and this is reflected in the realisation. This is a an excellent piece for developing sensitive ensemble playing. A transposed solo alto saxophone part is appended to the full score which is notated at sounding pitch. Piano accompaniments are available playing at 60, 63, and 66 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 2370
A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece need Show More...
A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs a needs to be played with a slight speeding up and slowing down of the tempo at appropriate places in the score which is described as tempo rubato and features in much of the best Chopin playing. Understand that the realisation doesn't apply rubato in a totally satisfactory way. The octave section that features in the melody of the piano score has not be transferred to the instrument writing in the arrangements. In Bar 21 the triplet option sounds in the realisation whilst the trill in the penultimate bar begins on the lower note and in the realisation 7 notes are sounded. The original piano work does have some additional ornaments which the performer may wish to consider adding after studying the solo piano score. The repeats are also played in the realisation and the solo violoncello part is also appended to the full music score. The arranger is interested in hearing about the suitability of this arrangement for the violoncello particularly in respect to instrument range. Is there possibly a more appropriate key? Close
Added: 27th July, 2017 11:07 AM |
Views : 3492
A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece need Show More...
A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs a needs to be played with a slight speeding up and slowing down of the tempo at appropriate places in the score which is described as tempo rubato and features in much of the best Chopin playing. Understand that the realisation doesn't apply rubato in a totally satisfactory way. The octave section that features in the melody of the piano score has not be transferred to the instrument writing in the arrangements. In Bar 21 the triplet option sounds in the realisation whilst the trill in the penultimate bar begins on the lower note and in the realisation 7 notes are sounded. The original piano work does have some additional ornaments which the performer may wish to consider adding after studying the solo piano score. The repeats are also played in the realisation and the solo violin part is also appended to the full music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3138
A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece need Show More...
A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs a needs to be played with a slight speeding up and slowing down of the tempo at appropriate places in the score which is described as tempo rubato and features in much of the best Chopin playing. Understand that the realisation doesn't apply rubato in a totally satisfactory way. The octave section that features in the melody of the piano score has not be transferred to the instrument writing in the arrangements. In Bar 21 the triplet option sounds in the realisation whilst the trill in the penultimate bar begins on the lower note and in the realisation 7 notes are sounded. The original piano work does have some additional ornaments which the performer may wish to consider adding after studying the solo piano score. The repeats are also played in the realisation. The solo flute part is also appended to the full music score. Piano accompaniments, without repeats, playing at 128, 132 and 136 bpm are in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3063
A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece need Show More...
A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs a needs to be played with a slight speeding up and slowing down of the tempo at appropriate places in the score which is described as tempo rubato and features in much of the best Chopin playing. Understand that the realisation doesn't apply rubato in a totally satisfactory way. The octave section that features in the melody of the piano score has not be transferred to the instrument writing in the arrangements. The trill in the penultimate bar begins on the lower note and in the realisation 7 notes are sounded. The original piano work does have some additional ornaments which the performer may wish to consider adding after studying the solo piano score. The repeats are also played in the realisation. The solo clarinet part in Bb is also appended to the full music score. Piano accompaniments are also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3238
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement w Show More...
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for trombone accompanied by the piano. The solo trombone part is appended to the piano score. There is a two bar click count in on the accompaniment tracks Close
Added: 27th July, 2017 11:07 AM |
Views : 4064
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tem Show More...
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for tenor saxophone accompanied by the piano. The solo tenor saxophone part is appended to the piano score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3569
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tem Show More...
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for oboe accompanied by the piano. The solo oboe part is appended to the piano score. Piano accompaniments are in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3756
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tem Show More...
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for horn in F aka French horn accompanied by the piano. The solo horn part is appended to the piano score. Accompaniments are in place playing at 108, 110 and 112 quarter note (crotchet) beats to the minute. There is a two bar count in sounding on the woodblocks. Close
Added: 27th July, 2017 11:07 AM |
Views : 3413
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tem Show More...
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for flute accompanied by the piano. The solo part is also appended to the piano score. There is a two bar click count in on the accompaniment tracks. Close
Added: 27th July, 2017 11:07 AM |
Views : 3471
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement w Show More...
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for clarinet in Bb accompanied by the piano. The solo part is also appended to the piano score. There is a two bar count in on the accompaniment track. Accompaniments are in place playing at 108, 110 and 112 quarter note (crotchet) beats to the minute. There is a two bar count in sounding on the woodblocks. Close
Added: 27th July, 2017 11:07 AM |
Views : 3527
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement w Show More...
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for bassoon accompanied by the piano. The solo part is also appended to the piano score. There is a two bar count in on the accompaniment track. Accompaniments are in place playing at 108, 110 and 112 quarter note (crotchet) beats to the minute. There is a two bar count in sounding on the woodblocks. Close
Added: 27th July, 2017 11:07 AM |
Views : 3435
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement w Show More...
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for bass clarinet accompanied by the piano. The solo part is also appended to the piano score. There is a two bar click introduction on the accompaniment mp3. Accompaniments are in place playing at 108, 110 and 112 quarter note (crotchet) beats to the minute. There is a two bar count in sounding on the woodblocks. Close
Added: 27th July, 2017 11:07 AM |
Views : 4300
The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to those Show More...
The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to those encountered in his more complex works. His music whilst often sounding simple is always challenging from a performance point of view and there are many aspects of performance to consider when playing his music - namely attention to rhythmic detail, tempo, dynamic range, use of pedals, interpretation of ornaments, amongst others. This arrangement for violin with piano accompaniment is of the fifth movement of the piano suite published in 1908. The suite dedicated to the composer's daughter Chou-Chou has score detail in French and an English title which was possibly chosen to reflect that an English governess was employed to look after his child. The realisation which communicates the musical content satisfactorily does lack fluidity in repect to tempo. Debussy's sound world is individual and while he was not someone who followed musical convention, he, more than any other composer at the end of the 19th century pushed open the door to absorb new musical influences. I would recommend listening to several performances of the work to gain an understanding of how best to approach a performance. Close
Added: 27th July, 2017 11:07 AM |
Views : 3392
The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to those Show More...
The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to those encountered in his more complex works. His music whilst often sounding simple is always challenging from a performance point of view and there are many aspects of performance to consider when playing his music - namely attention to rhythmic detail, tempo, dynamic range, use of pedals, interpretation of ornaments, amongst others. This arrangement for clarinet in A with piano accompaniment is of the fifth movement of the piano suite published in 1908. The suite dedicated to the composer's daughter Chou-Chou has score detail in French and an English title which was possibly chosen to reflect that an English governess was employed to look after his child. The realisation which communicates the musical content satisfactorily does lack fluidity in repect to tempo. Debussy's sound world is individual and while he was not someone who followed musical convention, he, more than any other composer at the end of the 19th century pushed open the door to absorb new musical influences.The music editor suggests listening to several performances of the work to gain an understanding of how best to approach a performance. Close
Added: 27th July, 2017 11:07 AM |
Views : 3336
The Little Shepherd from Debussy's Children's Corner Suite is one of the composers easier pieces although it does offer similar challenges to those Show More...
The Little Shepherd from Debussy's Children's Corner Suite is one of the composers easier pieces although it does offer similar challenges to those encountered in his more complex works. His music whilst often sounding simple is always challenging from a performance point of view and there are many aspects of performance to consider when playing his music - namely attention to rhythmic detail, tempo, dynamic range, use of pedals, interpretation of ornaments, amongst others. This arrangement for flute with piano accompaniment is of the fifth movement of the piano suite published in 1908. The suite dedicated to the composer's daughter Chou-Chou has score detail in French and an English title which was possibly chosen to reflect that an English governess was employed to look after his child. The realisation which communicates the musical content satisfactorily does lack fluidity in repect to tempo and at times is a little rushed. Debussy's sound world is individual and while he was not someone who followed musical convention, he, more than any other composer at the end of the 19th century pushed open the door absorb new musical influences. The music editor suggests listening to several performances of the work to gain an understanding of how best to approach a performance. Close
Added: 27th July, 2017 11:07 AM |
Views : 3491
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of Bb. Ther Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of Bb. There are some octave transpositions to keep the trumpet in Bb in a convenient range and some of the articulation markings that feature in the original score have been removed or modified to encourage a flowing melody line. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 3651
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of Bb. Ther Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of Bb. There are some octave transpositions to keep the soprano saxophone in a convenient range and some of the articulation markings that feature in the original score have been removed or modified to encourage a flowing melody line. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 3511
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of A. There Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of A. There are some octave transpositions to keep the oboe part in a convenient range and some of the articulation markings that feature in the original score have been edited to encourage a flowing melody line. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the piece has became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 3612
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of Bb. Ther Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of Bb. There are some octave transpositions to keep the clarinet part in a convenient range and some of the articulation markings that feature in the original score have been removed or modified to help maintain a flowing melody line. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the piece became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 2747
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. There are some octave transpo Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. There are some octave transpositions to keep the flute part in a convenient range and some of the articulation markings that feature in the piano score have been removed or modified to avoid a melody line that becomes exaggerarated. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 3580
This version has a piano accompaniment derived from the original piano work by Nazareth (1863 -1934) and is more difficult to play than the arranged Show More...
This version has a piano accompaniment derived from the original piano work by Nazareth (1863 -1934) and is more difficult to play than the arranged version that feature in the solo instrument with piano accompaniment scores. Nazareth was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and a solo flute part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3528
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to other instruments. His compositional st Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to other instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and a solo bassoon part utilising bass and tenor clefs is appended to the full score. There are some octave transpositions in the melody where the range of the solo instrument proves limiting. Close
Added: 27th July, 2017 11:07 AM |
Views : 3457
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His c Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and a solo Bb clarinet with the appropriate transposition is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3576
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His c Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and a solo flute part is appended to the full score. There is another version available on the website for the very competent pianist based on the original rather than an arranged score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3481
In this arrangement of Tico-Tico for soprano saxophone with piano accompaniment the sounding key is C minor/major and a tempo of 84 quarter note (crot Show More...
In this arrangement of Tico-Tico for soprano saxophone with piano accompaniment the sounding key is C minor/major and a tempo of 84 quarter note (crotchet) beats to the minute is used in the realization in which the repeats are played. The soprano saxophone part appropriately transposed is also appended to the full score. The piece is structured into three sections and the formal pattern can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments are available as mp3 downloads playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close
Added: 27th July, 2017 11:07 AM |
Views : 4062
IIn this arrangement of Tico-Tico for clarinet in Bb with piano accompaniment the sounding key is C minor/major and a tempo of 84 quarter note (crotch Show More...
IIn this arrangement of Tico-Tico for clarinet in Bb with piano accompaniment the sounding key is C minor/major and a tempo of 84 quarter note (crotchet) beats to the minute is used in the realization in which the repeats are played. The clarinet part has been appropriately transposed in the appended solo part but is at pitch in the piano score. The piece is structured into three sections and the formal pattern can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments are available as mp3 downloads playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close
Added: 27th July, 2017 11:07 AM |
Views : 4302
In this arrangement of Tico-Tico for bassoon with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 8 Show More...
In this arrangement of Tico-Tico for bassoon with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. A bassoon part is appended to the full score. The piece is structured into three sections and the formal pattern of the realization played with repeats can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments are available as mp3 downloads playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close
Added: 27th July, 2017 11:07 AM |
Views : 6089
In this arrangement of Tico-Tico for marimba with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 8 Show More...
In this arrangement of Tico-Tico for marimba with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. A marimba part is appended to the full score. The piece is structured into three sections and the formal pattern of the realization played with repeats can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments are available as mp3 downloads playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close
Added: 27th July, 2017 11:07 AM |
Views : 6621
In this arrangement of Tico-Tico for flute with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 84 Show More...
In this arrangement of Tico-Tico for flute with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. The piece is structured into three sections and it can be satisfactorily performed with or without repeats. A flute part is also appended to the score. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments playing at (1) 88 (2) 84 (3) 84 quarter note(crotchet) beats to the minute are available as mp3 downloads enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close
Added: 27th July, 2017 11:07 AM |
Views : 5539
This is shortened version of Mozart’s “Alla turca” in an arrangement for marimba accompanied by piano. It should be an easy piece to learn in th Show More...
This is shortened version of Mozart’s “Alla turca” in an arrangement for marimba accompanied by piano. It should be an easy piece to learn in that it one of the most immediately recognisable and popular pieces of music in the repertoire. 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. It is a very adaptable piece stylistically and in the repertoire of classical musicians, folk bands, jazz groups and café style ensembles. The score and realisation were updated in 2026 with accompaniments added. A marimba part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3532
This is shortened version of Mozart’s “Alla turca” in an arrangement for flute accompanied by piano. It should be an easy piece to learn in that Show More...
This is shortened version of Mozart’s “Alla turca” in an arrangement for flute accompanied by piano. It should be an easy piece to learn in that it one of the most immediately recognisable and popular pieces of music in the repertoire. 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 96 - 110 quarter note (crotchet) beats to the minute is suggested. It is a very adaptable piece stylistically and in the repertoire of classical musicians, folk bands, jazz groups and café style ensembles. In the realisation one guitar has steel strings whilst the other has nylon to enhance the tonal contrast. The score and realisation were updated in 2026 with accompaniments put in place. A flute part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3516
An arrangement for soprano saxophone and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of F. The score for the Show More...
An arrangement for soprano saxophone and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of F. The score for the soprano saxophone part is appended to the full score and where the high range of the instrument is to be used an alternative ending is given notated in the ossia staff. The realisation lacks a little subtlety in terms of ebb and flow as far as the tempo is concerned. The best advice is that a performance should not be rushed. Debussy scores contain much score detail and the original French language has been retained in this aspect of the notation. Performers will need to read the music carefully as there are many accidentals in the score attributable to the modal shifts in the writing. Debussy was something of a rule breaker in his approach to composition concerned more with sound rather than process. I would suggest listening to several performances of the piece with different instrument combinations to understand the interpretative options that are possible. Interestingly in his scores, Debussy always put his titles at the end of his scores in his prelude collections. Close
Added: 27th July, 2017 11:07 AM |
Views : 2680
An arrangement for oboe and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of G. The score for the oboe part is Show More...
An arrangement for oboe and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of G. The score for the oboe part is appended to the full score and where the high range of the instrument is to be used an alternative ending is given notated in the ossia staff. The realisation lacks a little subtlety in terms of ebb and flow as far as the tempo is concerned. The best advice is that a performance should not be rushed. Debussy scores contain much score detail and the original French language has been retained in this aspect of the notation. Performers will need to read the music carefully as there are many accidentals in the score attributable to the modal shifts in the writing. Debussy was something of a rule breaker in his approach to composition concerned more with sound rather than process. I would suggest listening to several performances of the piece with different instrument combinations to understand the interpretative options that are possible. Interestingly Debussy in his scores always put his titles at the end of his pieces in his prelude collections. Close
Added: 27th July, 2017 11:07 AM |
Views : 4084
An arrangement for clarinet in Bb and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of F. The score for the cl Show More...
An arrangement for clarinet in Bb and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of F. The score for the clarinet part is appended to the full score and where the high range of the instrument is to be used at the close an alternative ending is given notated in the ossia staff. The realisation lacks a little subtlety in terms of ebb and flow as far as the tempo is concerned. The best advice is that a performance should not be rushed. Debussy scores contain much score detail and the original French language has been retained in this aspect of the notation. Performers will need to read the music carefully as there are many accidentals in the score attributable to the modal shifts in the writing. Debussy was something of a rule breaker in his approach to composition concerned more with sound rather than process. I would suggest listening to several performances of the piece with different instrument combinations to understand the interpretative options that are possible. Interestingly in his scores, Debussy always put his titles at the end of his scores in his prelude collections. Close
Added: 27th July, 2017 11:07 AM |
Views : 3514
An arrangement for flute and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of G. The score for the flute part Show More...
An arrangement for flute and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of G. The score for the flute part is appended to the full score. The realisation lacks a little subtlety in terms of ebb and flow as far as the tempo is concerned. The best advice is that a performance should not be rushed. Debussy scores contain much score detail and the original French language has been retained in this aspect of the notation. Performers will need to read the music carefully as there are many accidentals in the score attributable to the modal shifts in the writing. Debussy was something of a rule breaker in his approach to composition concerned more with sound rather than process. I would suggest listening to several performances of the piece with different instrument combinations to understand the interpretative options that are possible. Interestingly in his scores, Debussy always put his titles at the end of his pieces in his prelude collections. Close
Added: 27th July, 2017 11:07 AM |
Views : 3315
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 a melodic, humorous and characterful movement and this version is for violin with piano accompaniment. 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. Accompaniments are available for this score with a four bar count in played on a two sounds of the wood block. Because of the tempo changes and the upbeat in the solo part there is a two beat click between the sections. Accompaniment 1 has a tempo of 100 quarter note (crotchet) beats for the Minuet and 110 for the Trio section, Accompaniment 2 has a tempo of 104 quarter note (crotchet) beats for the Minuet and 116 for the Trio section, Accompaniment 3 has a tempo of 108 quarter note (crotchet) beats for the Minuet and 116 for the Trio section and Accompaniment 4 has a tempo of 110 quarter note (crotchet) beats for the Minuet and 120 for the Trio section. This score was reviewed and revised with accompaniments added in 2022. A violin part is appended to the music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 4110
A very appealing and familiar movement from the treasure trove of Beethoven’s works WoO (Without Opus number) Originally composed for orchestra, the 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 a melodic piece full of character and humour and this version is for trombone with the music transposed from the original key of G to F. with piano accompaniment. 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. Accompaniments are available for this score with a four bar count played on a wood block. Because of the tempo changes and the upbeat in the solo part there is a two beat click between the sections Accompaniment 1 has a tempo of 104 quarter note (crotchet) beats for the Minuet and 110 for the Trio section, Accompaniment 2 has a tempo of 108 quarter note (crotchet) beats for the Minuet and 116 for the Trio section, Accompaniment 3 has a tempo of 110 quarter note (crotchet) beats for the Minuet and 120 for the Trio section. This score was reviewed revised with accompaniments added in 2026. A trombone part is appended to the full music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 4244
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 a melodic piece full of humour and character and this version is for oboe with piano accompaniment. 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 although they are not included in the realisation.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. Accompaniments are available for this score with a four bar count in played on a two sounds of the wood block. Because of the tempo changes and the upbeat in the solo part there is a two beat click between the sections. Accompaniment 1 has a tempo of 100 quarter note (crotchet) beats for the Minuet and 110 for the Trio section, Accompaniment 2 has a tempo of 104 quarter note (crotchet) beats for the Minuet and 116 for the Trio section, Accompaniment 3 has a tempo of 108 quarter note (crotchet) beats for the Minuet and 116 for the Trio section and Accompaniment 4 has a tempo of 110 quarter note (crotchet) beats for the Minuet and 120 for the Trio section. This score was reviewed, revised with accompaniments added in 2022. An oboe part is appended to the music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 4572
A very appealing and familiar movement from the treasure trove of Beethoven’s works WoO (Without Opus number) Originally composed for orchestra, the 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 a melodic piece full of character and humour and this version is for cello with piano accompaniment. 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 although they are not included in the realization. I would urge 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. Accompaniments are available for this score with a four bar count in played on a two sounds of the wood block. Because of the tempo changes and the upbeat in the solo part there is a two beat click between the sections. accompaniments in place. Accompaniment 1 has a tempo of 100 quarter note (crotchet) beats for the Minuet and 110 for the Trio section, Accompaniment 2 has a tempo of 104 quarter note (crotchet) beats for the Minuet and 116 for the Trio section, Accompaniment 3 has a tempo of 108 quarter note (crotchet) beats for the Minuet and 116 for the Trio section and Accompaniment 4 has a tempo of 110 quarter note (crotchet) beats for the Minuet and 120 for the Trio section. This score was reviewed and revised with accompaniments added in 2022. A cello part is appended to the music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 4415
A very appealing and familiar movement from the treasure trove of Beethoven’s works WoO (Without Opus number) Originally composed for orchestra, the 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 a melodic movement full of character and humour and this arrangement is for flute with piano accompaniment. 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 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. Accompaniments are available for this score with a four bar count in played on a two sounds of the wood block. Because of the tempo changes and the upbeat in the solo part there is a two beat click between the sections. Accompaniment 1 has a tempo of 100 quarter note (crotchet) beats for the Minuet and 110 for the Trio section, Accompaniment 2 has a tempo of 104 quarter note (crotchet) beats for the Minuet and 116 for the Trio section, Accompaniment 3 has a tempo of 108 quarter note (crotchet) beats for the Minuet and 116 for the Trio section and Accompaniment 4 has a tempo of 110 quarter note (crotchet) beats for the Minuet and 120 for the Trio section. This score was reviewed and revised with accompaniments added in 2022. A flute part is appended to the music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 4598
Serenade by R. Hoffsetter is a movement that originates from a classical string quartet. In this improver / intermediate level arrangement for oboe & Show More...
Serenade by R. Hoffsetter is a movement that originates from a classical string quartet. In this improver / intermediate level arrangement for oboe & piano the sounding key is C whilst the PlentyMusic sheet music realisation plays back at 94 quarter note (crotchet) beats to the minute.
In this an arrangement for oboe with piano accompaniment some octave transpositions have been used in the oboe line. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The music in the movement does sound easy to play although there are challenges in playing music of this era well and musically. In performance, the articulation of the notes needs to be consistent - the melody is to be played legato and the accompaniment staccato or at least in a detached manner. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested. An oboe part is appended to the full score which is available as a pdf download from the website.
The repeats do not play in the realisation. mp3 piano accompaniments are available playing at 86, 90 ,94, 98 and 102 quarter note (crotchet) beats to the minute enabling oboists to improve their music practice routines by including ensemble playing. Similarly the repeats are not played in these recordings.
An ideal concert item because the music epitomises and breathes the spirit of classical music although surprisingly not composed by one of the famous and familiar classical composers.
The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic score the appoggiaturas (leaning notes) have been notated as they are to be played while the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol.
This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. There is also a strong repetitive element that requires the music to played with simplicity and consistency.
The melody can be played with some differences to the phrasing and articulations indicated and suggested in the score.
The ornaments, acciaccaturas (crushed notes) which are always a confusing element in music performance are probably best omitted in the early stages of playing the movement.
The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity.
Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. The music score was revised in 2023. Close
Added: 27th July, 2017 11:07 AM |
Views : 3731
This is an arrangement for flute with piano accompaniment of this familiar piece from the string quartet repertoire. The music possesses classical bea Show More...
This is an arrangement for flute with piano accompaniment of this familiar piece from the string quartet repertoire. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The music in the movement does sound easy to play although there are challenges in playing music of this era well and musically. In performance, the articulation of the notes needs to be consistent - the melody is to be played legato (Andante Cantabile) and the accompaniment staccato or at least in a detached manner. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested. A flute part is appended to the full score which is available as a pdf download from the website.
The repeats do not play in the realisation. Piano accompaniments are available playing at 86, 90 ,94, 98 and 102 quarter note (crotchet) beats to the minute. Similarly the repeats are not played in these recordings.
An ideal concert item because the music epitomises and breathes the spirit of classical music although surprisingly not composed by one of the famous and familiar classical composers.
The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic score the appoggiaturas (leaning notes) have been notated as they are to be played while the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol.
This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. There is also a strong repetitive element that requires the music to played with simplicity and consistency.
The melody can be played with some differences to the phrasing and articulations indicated and suggested in the score.
The ornaments, acciaccaturas (crushed notes) which are always a confusing element in music performance are probably best omitted in the early stages of playing the movement.
The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity.
Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close
Added: 27th July, 2017 11:07 AM |
Views : 3730
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for French horn and piano in the key of C whilst the Show More...
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for French horn and piano in the key of C whilst the PlentyMusic sheet music realisation plays back at 90 quarter note (crotchet) beats to the minute. Improve music practice strategies by downloading this sheet music score and accompaniments from PlentyMusic.
The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato with a piano accompaniment that needs to imitate the pizzicato sound of the strings. Observant listeners will recognise that not all the ornamaments sound in the realisation. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested while a French horn part is appended to the full score available as a pdf download from the website.
The repeats which are not marked in the video score do not play in the realisation or video score. mp3 piano accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments provide the French horn player with the opportunity to practice in an ensemble context and play as part of a duet. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments to establish the tempo.
An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. There is quiet an amount of playing for the oboist and please advise the PlentyMusic office if there is the suggestion that there should be more sharing of the melodic material with the piano.
The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. In the video score all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) which are probably best omitted in the early stages of playing the movement.
This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency.
The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity.
Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. This score was updated in 2023. Close
Added: 27th July, 2017 11:07 AM |
Views : 3726
An arrangement for cello with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music st Show More...
An arrangement for cello with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3691
An arrangement for tenor saxophone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popula Show More...
An arrangement for tenor saxophone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of F and the tenor saxophone part has been appropriately transposed. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3824
An arrangement for oboe with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music sty Show More...
An arrangement for oboe with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of G. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3303
An arrangement for flute with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music s Show More...
An arrangement for flute with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of G and the flute player has the option of playing the repeat at the octave. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3415
An arrangement for clarinet in Bb with piano accompaniment of the chorus of Any Rags? that demonstrates many of the essential elements of an emerging Show More...
An arrangement for clarinet in Bb with piano accompaniment of the chorus of Any Rags? that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of F whilst the clarinet part is appropriately transposed. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3654
An arrangement for bassoon with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music Show More...
An arrangement for bassoon with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of F. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3397
An arrangement for alto saxophone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popula Show More...
An arrangement for alto saxophone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of F and the alto saxophone part is appropriately transposed. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3871
An arrangement of this ragtime waltz for violin accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is Show More...
An arrangement of this ragtime waltz for violin accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3671
An arrangement of this ragtime waltz for trombone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and i Show More...
An arrangement of this ragtime waltz for trombone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. The sounding key is Eb and there are 3 piano accompaniments in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3982
An arrangement of this ragtime waltz for tenor saxophone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggeste Show More...
An arrangement of this ragtime waltz for tenor saxophone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. As the sounding key is F the tenor saxophone part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3812
An arrangement of this ragtime waltz for trumpet in Bb accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested a Show More...
An arrangement of this ragtime waltz for trumpet in Bb accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. As the sounding key is F the trumpet part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3999
An arrangement of this ragtime waltz for flute accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is us Show More...
An arrangement of this ragtime waltz for flute accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. There are some syncopation challenges whilst accompaniments are in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3440
An arrangement of this ragtime waltz for clarinet in Bb accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested Show More...
An arrangement of this ragtime waltz for clarinet in Bb accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. As the sounding key is F the clarinet part has been appropriately transposed. Piano accompaniments are in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3728
An arrangement of this ragtime waltz for alto saxophone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested Show More...
An arrangement of this ragtime waltz for alto saxophone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. As the sounding key is F the alto saxophone part has been appropriately transposed. Piano accompaniments are also in place Close
Added: 27th July, 2017 11:07 AM |
Views : 3712
Elite Syncopations is another very well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how thi Show More...
Elite Syncopations is another very well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for tenor saxophone accompanied by piano.The sounding key is F and the solo instrument part is appended to the full music score with the appropriate transposition. The same ragtime piece is often heard played at varying tempos but the best advice is not to play too fast. It does need to be played consistently and with simplicity even though some of the sections are technically quite challenging. Some of the repeat sections have the option of playing the melody up an octave but this may prove to be too challenging for some instrumentalists. Close
Added: 27th July, 2017 11:07 AM |
Views : 3359
Elite Syncopations is another very well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how thi Show More...
Elite Syncopations is another very well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for flute accompanied by piano.The sounding key is G and the solo instrument part is appended to the full music score . The same ragtime piece is often heard played at varying tempos but the best advice is not to play too fast. It does need to be played consistently and with simplicity even though some of the sections are technically quite challenging. Some of the repeat sections have the option of playing the melody up an octave but this may prove to be too challenging for some instrumentalists. Close
Added: 27th July, 2017 11:07 AM |
Views : 3298
Elite Syncopations is another high quality ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this s Show More...
Elite Syncopations is another high quality ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for violin accompanied by piano.The sounding key is G and the solo instrument part is appended to the full music score . The same ragtime piece is often heard played at varying tempos but the best advice is not to play too fast. It does need to be played consistently and with simplicity even though some of the sections are technically quite challenging. Some of the repeat sections have the option of playing the melody up an octave but this may prove to be too challenging for some instrumentalists. Close
Added: 27th July, 2017 11:07 AM |
Views : 3127
“Elite Syncopations” is another well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how th Show More...
“Elite Syncopations” is another well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for clarinet in Bb accompanied by piano. The sounding key is Eb although the solo instrument part is appended to the full music score with the appropriate transposition. The same ragtime piece is often heard played at varying tempos but the best advice is not to play too fast. It does need to be played consistently and with simplicity even though some of the sections are technically quite challenging. Some of the repeat sections have the option of playing the melody up an octave but this may prove to be too challenging for some instrumentalists. This score reviewed in early 2026 with a realisation added in which the repeats are not played. Accompaniments have also been added playing at bpm. There is a 4 bar count in featuring the sound of the woodblock. Close
Added: 27th July, 2017 11:07 AM |
Views : 4172
Elite Syncopations is another high quality ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this Show More...
Elite Syncopations is another high quality ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for alto saxophone accompanied by piano. The sounding key is F although the solo instrument part is appended to the full music score with the appropriate transposition. The same ragtime piece is often heard played at varying tempos but the best advice is not to play too fast. It does need to be played consistently and with simplicity even though some of the sections are technically quite challenging. Some of the repeat sections have the option of playing the melody up an octave but this may prove to be too challenging for some instruments. Close
Added: 27th July, 2017 11:07 AM |
Views : 3890
In this arrangement for violin with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is r Show More...
In this arrangement for violin with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is recommended whilst the solo instrument part is appended to the full music score. Players may well want to challenge the intermediate level that has been given for this piece because it may well be better described as being at an advanced level. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite challenging to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 3241
In this arrangement of "The Entertainer" for clarinet in Bb with piano accompaniment the sounding key is Bb whilst a tempo of around 72 quarter note ( Show More...
In this arrangement of "The Entertainer" for clarinet in Bb with piano accompaniment the sounding key is Bb whilst a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. The solo instrument part is appended to the full music score with the appropriate transposition. Players may well want to challenge the intermediate level that has been given for this piece because it may well be better described as being at an advanced level. Scott Joplin's The Entertainer is described as a Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin;s own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite challenging to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 3482
In this arrangement for trombone with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is Show More...
In this arrangement for trombone with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. The solo instrument part is appended to the full music score. Players may well want to challenge the intermediate level that has been given for this piece because it may well be better described as being at an advanced level. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite challenging to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 3435
In this arrangement for flute with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is re Show More...
In this arrangement for flute with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is recommended whilst the solo instrument part is appended to the full music score. Players may well want to challenge the intermediate level that has been given for this piece because it may well be better described as being at an advanced level. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 3429
In this arrangement for tenor saxophone with piano accompaniment sounding in the key of Bb a tempo of around 72 quarter note (crotchet) beats to the m Show More...
In this arrangement for tenor saxophone with piano accompaniment sounding in the key of Bb a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. The solo instrument part with the appropriate transposition is appended to the full music score. Players may well want to challenge the intermediate level that has been given for this piece. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 4195
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn."This arrangement for violin with piano accompa Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn."This arrangement for violin with piano accompaniment sounding in D minor has the solo instrument part with the appropriate transposition appended to the full music score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Ãngel Villoldo (1861 - 1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3042
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." This arrangement for bassoon with piano accom Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." This arrangement for bassoon with piano accompaniment sounding in C minor has the solo instrument part with the appropriate transposition appended to the full music score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3156
This very popular tango dates from 1903. The English translation of El Choclo is "The Ear of Corn." This arrangement for alto saxophone with piano ac Show More...
This very popular tango dates from 1903. The English translation of El Choclo is "The Ear of Corn." This arrangement for alto saxophone with piano accompaniment sounding in C minor has the solo instrument part with the appropriate transposition appended to the full music score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3386
This very popular tango dates from 1903. The English translation of El Choclo is "The Ear of Corn." This arrangement for clarinet in Bb with a piano Show More...
This very popular tango dates from 1903. The English translation of El Choclo is "The Ear of Corn." This arrangement for clarinet in Bb with a piano accompaniment is in C minor and has the solo instrument part with the appropriate transposition appended to the full music score. In this example the transposition is also shown in the full score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3878
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." This arrangement for flute with a piano accom Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." This arrangement for flute with a piano accompaniment is in D minor and has the solo instrument part appended to the full music score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments , various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3104
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." This arrangement for cello with a piano accom Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." This arrangement for cello with a piano accompaniment is in D minor and has the solo instrument part appended to the full music score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments , various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3387
This very popular tango dates from 1903. The English translation of El Choclo is the The Ear of Corn.This arrangement for tenor saxophone with a pian Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the The Ear of Corn.This arrangement for tenor saxophone with a piano accompaniment is in C minor and has the solo instrument part appended to the full music score with the appropriate transposition. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments , various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3510
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Show More...
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. The solo oboe part is appended to the full music score. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 3506
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Show More...
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. The solo bassoon part is appended to the full music score. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 3306
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Show More...
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. The solo clarinet part is appended to the full music score appropriately transposed. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 3165
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Show More...
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. The solo saxophone part is appended to the full music score. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 3514
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo alto saxophone part, transposed to the appropriate key, is also appended to the full music score. There is also a piano accompaniment available for this score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3620
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo viola part is appended to the full music score. Piano accompaniments are in place playing at 58, 60, 62 and 64 bpm Close
Added: 27th July, 2017 11:07 AM |
Views : 3695
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo flute part is appended to the full music score and piano accompaniments are in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3606
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo oboe part is appended to the full music score and an accompaniment is available. Close
Added: 27th July, 2017 11:07 AM |
Views : 3461
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo violin part is also appended to the full music score. An accompaniment is available to encourage ensemble practice. Close
Added: 27th July, 2017 11:07 AM |
Views : 3150
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo cello part is also appended to the full music score and there is an accompaniment available. Close
Added: 27th July, 2017 11:07 AM |
Views : 3572
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo tenor saxophone part, transposed to the appropriate key, is also appended to the full music score. Piano accompaniments are in place playing at 58,60,62 and 64 quarter notes bpm. Close
Added: 27th July, 2017 11:07 AM |
Views : 3634
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habaner Show More...
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular worldwide. This arrangement for clarinet in Bb sounds in the key of C. A tempo of around 60 quarter note (crotchet) beats to the minute is suggested and used in the playback. The melody needs to be played with a legato touch whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Piano accompaniments are in place playing at 58, 60, 62 and 64 quarter note or crotchet beats to the minute. The lines of music are rhythmically independent and so the left hand piano pattern should not end up being synchronized with the triplet figuration of the right hand! There are many different versions of this piece and the triplet figuration provides challenges on how the music can be both notated and played. Popular rhythms particularly those derived from dance travelled very quickly around the globe in these times and the habanera pattern became an essential rhythmic feature of Argentinian tango music and is familiar from Bizet’s opera Carmen. If you are struggling to understand how to play cross rhythms have a look at one of the threes against two polyrhythms tutorials that are available on YouTube. This is an excellent movement in learning how to play triplets. Close
Added: 27th July, 2017 11:07 AM |
Views : 3590
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo bassoon part is also appended to the full music score and there is an accompaniment available for this score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3249
This is an intermediate level version of Satie's march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm Show More...
This is an intermediate level version of Satie's march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise humorous piece dating from 1904. An alto saxophone part is appended to the full music score. 3 piano accompaniments are available playing at 92, 96 and 100 quarter note beats to the minute. Each has a 4 bar introduction indicating the tempo that sounds on a wood block. There is a one bar silent bar before the repeat of the A section. Close
Added: 27th July, 2017 11:07 AM |
Views : 3545
This is an intermediate level version of Satie's march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm Show More...
This is an intermediate level version of Satie's march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise humorous piece dating from 1904. A bassoon part is appended to the full music score.
3 piano accompaniments are available playing at 92, 96 and 100 quarter note beats to the minute. Each has a 4 bar introduction indicating the tempo that sounds on a wood block. There is a one bar silent bar before the repeat of the A section. Close
Added: 27th July, 2017 11:07 AM |
Views : 3484
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo Show More...
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise cheerful piece dating from 1904. A tenor saxophone part appropriately transposed is appended to the full score. 3 piano accompaniments are available playing at 92, 96 and 100 quarter note beats to the minute. Each has a 4 bar introduction indicating the tempo that sounds on a wood block. There is a one bar silent bar before the repeat of the A section. Close
Added: 27th July, 2017 11:07 AM |
Views : 3519
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo Show More...
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise cheerful piece dating from 1904. A clarinet score score with the appropriate transposition is appended to the full score. 3 piano accompaniments are available playing at 92, 96 and 100 quarter note beats to the minute. Each has a 4 bar introduction indicating the tempo that sounds on a wood block. There is a one bar silent bar before the repeat of the A section. Close
Added: 27th July, 2017 11:07 AM |
Views : 3151
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo Show More...
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise cheerful piece dating from 1904. A flute part is appended to the full score. 3 piano accompaniments are available playing at 92, 96 and 100 quarter note beats to the minute. Each has a 4 bar introduction indicating the tempo that sounds on a wood block. There is a one bar silent bar before the repeat of the A section. Close
Added: 27th July, 2017 11:07 AM |
Views : 4204
This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Show More...
This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A violin part is appended to the music score. Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3860
This melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Show More...
This melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. This improver level (second year players) waltz movement is in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A clarinet in Bb part appropriately transposed is appended to the full music score. Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3546
The melody from Over the Waves is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the Show More...
The melody from Over the Waves is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A violoncello part is appended to the music score.Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3813
This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Show More...
This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A tenor saxophone part appropriately transposed is appended to the music score. Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 58 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4171
This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Show More...
This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has s been interpreted by many stylistically different types of performing groups. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A bassoon part is appended to the full score.Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3619
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly an Show More...
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most familiar of Latin American melodies. The waltz is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at a tempo of 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A trumpet in Bb part appropriately transposed is appended to the full music score. Piano accompaniments are available as an mp3 download at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4215
The waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Show More...
The waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces interpreted by many stylistically different types of performing groups. An alto saxophone part appropriately transposed is appended to the music score. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4062
An arrangement for violin with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo violin part is Show More...
An arrangement for violin with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo violin part is also appended to the full score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 4123
An arrangement for violoncello with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo violoncell Show More...
An arrangement for violoncello with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo violoncello part is also appended to the score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 3418
An arrangement for trombone with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo trombone part Show More...
An arrangement for trombone with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo trombone part is also appended to the score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 3086
An arrangement for oboe with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo oboe part is also Show More...
An arrangement for oboe with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo oboe part is also appended to the score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 3114
An arrangement for bassoon with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo bassoon part i Show More...
An arrangement for bassoon with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo bassoon part is also appended to the score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 3488
An arrangement for horn in F (French horn) with a piano accompaniment of this attractive melodic piece which was composed and published in 1888. The s Show More...
An arrangement for horn in F (French horn) with a piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo horn part is also appended to the score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 3356
Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Show More...
Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. His Gymnopedie No. 1 is an attractive melodic piece which was orchestrated by Debussy. Satie's writings and works influenced many of the avant-garde movements established in Paris in the early 20th century. Close
Added: 27th July, 2017 11:07 AM |
Views : 3584
An arrangement of this movement for alto saxophone and piano. The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the Show More...
An arrangement of this movement for alto saxophone and piano. The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the baroque period featuring dotted rhythms to give it a lilting feelthat said this piece should not be played too slowly. This music has great beauty and gracefulness and the arrangement has the ornaments notated to clarify how they are to be played. Close
Added: 27th July, 2017 11:07 AM |
Views : 3200
An arrangement of this movement for tenor saxophone and piano. The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the Show More...
An arrangement of this movement for tenor saxophone and piano. The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the baroque period featuring dotted rhythms to give it a lilting feel that said this piece should not be played too slowly. This music has great beauty and gracefulness and the arrangement has the ornaments notated to clarify how they are to be played. Close
Added: 27th July, 2017 11:07 AM |
Views : 3368
The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the baroque period featuring dotted rhythms to give it a lilting f Show More...
The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the baroque period featuring dotted rhythms to give it a lilting feel that said it should not be played too slowly. This music has great beauty and gracefulness and this arrangement for flute and piano has the ornaments notated to clarify how they can be played. Close
Added: 27th July, 2017 11:07 AM |
Views : 2938
