Tchaikovsky’s ChansonTriste arranged for organ with pedals now available as a download. The organ realisation plays back at 100 quarter note (crotch Show More...
Tchaikovsky’s ChansonTriste arranged for organ with pedals now available as a download. The organ realisation plays back at 100 quarter note (crotchet) beats to the minute. In a playing context a slower tempo can be considered.
In the arrangement there are a number of octave transpositions (upwards) in the pedal bass part and just a small number of voicing changes to the inner parts.
One of Tchaikovsky’s most popular pieces composed in 1878 for piano this arrangement for organ with pedals is in the original key of G minor. It is a ternary form ABA movement in a reflective melancholy mood.
It has a regular phrase structure and the melodic line needs to be played with a singing legato.
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 broad range of dynamics.
Playing the G minor in both the harmonic and melodic forms would be excellent preparation for playing this intermediate level work.
There are almost hymn like characteristics in some of the chordal sections of this work reflecting the wonderful chordal writing of the composer’s vocal works. Whilst there are transpositions of his orchestral works for organ there are is no music specifically composed for organ. Close
Added: 1st February, 2025 08:02 AM |
Views : 30
June from P.I. Tchaikovsky’s Seasons Opus 37 No.6 dates from 1891 and is one of the composer’s most popular piano pieces. An example of music inte Show More...
June from P.I. Tchaikovsky’s Seasons Opus 37 No.6 dates from 1891 and is one of the composer’s most popular piano pieces. An example of music intended for the salon or drawing room it is described as a barcarolle. #sheetmusic pdf download link: coming soon
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.
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. Pianists 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 and in the light of 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 pianists should be looking to explore the full tonal and dynamic range of the instrument. Piano touch and articulations are elements that can be explored.
The use of weight from the body through from the shoulders, arms, hands and fingers into the piano keys is something that with understanding and application can add interpretative value to a performance.
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.
The Tchaikovsky piano was essentially the modern instrument with an iron frame though the tonal range would not have been as broad as a grand piano of the 21st century.
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 in the hands particular
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 countemrodies 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: 9th December, 2024 08:12 AM |
Views : 105
The allegro is in binary form AB. The repeats are not played in the realisation.
A brisk movement that needs to be played with a sense of there being Show More...
The allegro is in binary form AB. The repeats are not played in the realisation.
A brisk movement that needs to be played with a sense of there being one beat in the bar.
The realisation plays back at 68 bpm with the one in a bar beat being a dotted quarter note or crotchet
Equal temperament tuning allowed Bach and others to discover and pursue new key options in their exploration of the cycle of fifths.
As a brisk movement fingers need to be kept near the keys and the choice of fingers needs to be secure. The edited sheet music score with suggested fingering in place is a snapshot of how the music editor approached the playing of the work. A plain score is appended to the edited sheet music score.
A legato touch needs to be demonstrated in the top line which has much diatonic step wise movement .
There is opportunity to explore contrasting dynamics a reflection that this piece was originally intended to be played on the harpsichord.
Ornamenation does not feature in this arrangement and the two main cadences feature at the end of the A section (bar 36) and at the end of the B section (bar 96).
Remember that Bach’s music needs to be played with the clearest of intentions. The music editor favours a dry acoustic performing Bach’s music with minimal use of the sustaining pedal. Close
Added: 2nd November, 2024 07:11 AM |
Views : 127
One of Tchaikovsky’s most popular piano pieces composed in 1878 and in the key of G minor. It is a ternary form ABA movement in a reflective melanc Show More...
One of Tchaikovsky’s most popular piano pieces composed in 1878 and in the key of G minor. It is a ternary form ABA movement in a reflective melancholy mood.
It has a regular phrase structure and the melodic line needs to be played with a singing legato. Pianists need to make appropriate use of the sustaining pedal although it is not indicated in the sheet music pdf.
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 make use of the full range of the piano 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.
Listen to Sviatoslav Richter’s and others playing of this piece to gain an insight in how it is should be performed. There is much detail in the writing
There are 12 piano pieces in the Opus 40 collection. Close
Added: 19th October, 2024 08:10 AM |
Views : 213
Dainty Doll, by Bernard Barnes is a novelty piano solo, published in 1934. A movement full of charm it needs to be played in a swing style with a ligh Show More...
Dainty Doll, by Bernard Barnes is a novelty piano solo, published in 1934. A movement full of charm it needs to be played in a swing style with a light keyboard touch.
The realisation plays back at 120 quarter note beats (crotchet) to the minute. The same tempo is used in each of the sections in the realisation apart from bars the two bar link (bars 43 & 44) where the tempo has been deliberately slowed before the return of the A section.
Dainty Doll described as a Novelette dates from 1934. As a piano novelty solo played in a swing style some obvious ambiguities arise in terms of understanding the notation of the music.
The music needs to be played with a lightness in the hands and the melodic ideas need to be articulated clearly. The triplet pattern features continually despite the ambiguity of the notation.
While use of the sustaining pedal is recommended its use is not indicated in the music score.
Formally the music can be described as A B C A with the key plan being D G C D. 16 bar phrases are evident in the structure in each of the sections
Whilst there is a clear reference to the American march this is presented in an abridged form more suited to the performance of novelty piano music.
Barney Barnes is also fond of using a two bar link just before the return of the A section preparing the return to the home key of D.
The compositional style demonstrates many of the popular music cliches and formulas contemporary to the period of its writing.
The 2 bar unit is very much the building block in novelty pieces of music with each building block being part of a conversation very much like the question and answer phrase structure that is frequently described in classical music
A display of contrasting textures in each of the sections also tends to be evident. From the technical point of view novelty pieces certainly on the piano need to be understood as being advanced pieces and tempo instructions invariably should be interpreted as “play as fast as possible.”
Harmonically many seventh chords are in evidence and the cycle of fifths often with the addition of chromatic notes provides the framework.
Musicians will sense that this piece as is the case with much novelty music is suitable to be arranged for other instrument combinations because there are some evident accompaniment motives and the texture and pianistic writing suggests arrangement possibilities.
It is a pity that there isn’t more Bernard Barnes sheet music available because his compositional style has great charm and appeal.
As in much novelty piano music the interval of a fourth features in the melody line.
Novelty music is very much a chordal based often with a strong chromatic element.
The realisation plays back at 120 quarter note beats (crotchet) to the minute.
Repetition features strongly in the piece and the spread chords in the left hand are necessary enabling pianists to manage stretches.
Subtle changes of tempo do not feature in the realisation and generally music in this style needs to be played consistently with possibly some slowing down at the end of sections
Bernard Barnes 1892 -1947 was born in Worcester (modern day West Midlands) in the UK and moved to the USA is his youth settling in Seattle where he worked as a cinema organist becoming an American citizen in 1922. He is associated with a mode of music making familiarly referred to as “photoplay” that is music intended to be played for silent movies. His day job was playing largely improvised organ music to accompany silent movies.
In the video score some of the graphic score detail is hidden simply because it behaves inconsistently in this format.
The pianos of the novelty era tended to have lighter touches that those of modern instruments which partly explains tempos from archive recordings.
Certainly as a composer Barney Barnes is deserving of more attention and his popular piano novelties need to heard more often.
The early radio and recording years were wonderful times for piano playing with the majority of well trained classical musicians having to decide on whether to pursue a career on traditional paths or embrace the new idioms of radio, cinema and related popular music idioms. Close
Added: 29th September, 2024 16:09 PM |
Views : 447
Bernard Barnes 1892 -1947 was born in Worcester and moved to the USA is his youth settling in Seattle where he worked as a cinema organist becoming an Show More...
Bernard Barnes 1892 -1947 was born in Worcester and moved to the USA is his youth settling in Seattle where he worked as a cinema organist becoming an American citizen in 1922. He is associated with a mode of music making familiarly referred to as “photoplay” that is music intended to be played for silent movies.
Dainty Miss described as a Novelette dates from 1924. Whist a piano novelty solo played in a swing style there are recordings available where the music is arranged for Palm Court Orchestra.
The music needs to be played with a lightness in the hands and the melodic ideas need to be articulated clearly. It is quite a charming character piece that does not need to be played too quickly. The triplet pattern features continually despite the ambiguity of the notation. Crossing of hands (left over right hand feature in the second section of music which has the repeat. After the 16 bar trio section there is a two bar link leading to a reprise of the first section with a slightly different final cadence. The voice leading in bar 44 warrants some careful attention and possibly quite a bit of disagreement amongst piano players?
A tempo of between 55-60 half note or minim beats to the minute is suggested. While use of the sustaining pedal is recommended its use is not indicated in the music score.
The realisation plays back at 60 half note or minim beats to the minute. Close
Added: 9th September, 2024 15:09 PM |
Views : 214
The chromatic scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Show More...
The chromatic scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Free sheet music download: coming soon
When learning the scale familiarise yourself with the sound and structure of the scale. There are some alternative fingering suggestions in place that can be considered.
mp3 play-a-long tracks can be easily accessed and downloaded to a mobile phone from the website to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 84 quarter note or crotchet beats to the minute.
Improve music practice routines and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale.
Remember that PlentyMusic scale drills are presented in a metrical context to provide an ensemble experience. A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together two octaves contrary motion
Do keep to the specified fingering Remember that in a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato).
Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Thumb under & third & fourth finger over preparation is a crucial aspect of keyboard technique that needs to be practiced.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. Close
Added: 13th August, 2024 14:08 PM |
Views : 424
The natural minor scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tra Show More...
The natural minor scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Not relevant every day of the week or in music from the classical era where voice leading defaults to the melodic & harmonic versions of the scale. However it has a relevant context in much folk music.
When learning the scale familiarise yourself with the sound and structure of the scale. In the c natural minor scale the 3rd 6th and 7th notes of scale are flattened. mp3 play-a-long tracks can be easily accessed and downloaded to a mobile phone from the PlentyMusic website to improve music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) and are presented in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 108 quarter note or crotchet beats to the minute.
Improve music practice routines and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads.
Each scale is to be played 3 times with a one bar gap between each scale.
PlentyMusic scale practice exercises are designed to improve technical skills and are presented in a metrical context enabling keyboard players to practice and improve their technical & aural skills as part of an ensemble playing activity.
A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows:
right hand two octaves
left hand two octaves
right and left hands together two octaves similar motion
right and left hands together two octaves contrary motion
Keep to the specified fingering
Remember that in a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato).
Playing scales does involve repetition but at the same time they need to be played with engagement and concentration
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys.
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. Close
Added: 5th July, 2024 14:07 PM |
Views : 480
Bubbling Over is a novelty piano solo by Carroll Gibbons published in 1937. The playback tempo of the realisation is 84 half note or minim beats to th Show More...
Bubbling Over is a novelty piano solo by Carroll Gibbons published in 1937. The playback tempo of the realisation is 84 half note or minim beats to the minute and 72 half note bpm in the section from bars 79 to 110. It is a movement that needs to be played in a swing style.
Carroll Gibbons was a wonderful musical talent and pianist kept busy at the Savoy Hotel in the war years. Broadcasting on a regular basis his playing is well documented in the recording sense although sadly not much of his piano music is available in print. Although American by birth he lived and worked in England.
The quality of his musicianship is down to a combination his wonderful knowledge of chords, a repertoire largely based on the songbooks of the 1930’s & 40’s combined with experience leading bands in his working years. For the enthusiast there is archive material to discover on Carroll Gibbons. His performances particularly of popular songs are well documented with many broadcasts and recordings of his music available on streaming media. He is associated with many of the finest artists of his day including the singers Anne Lenner and Hildegarde.
Pianists intending to play this particular piece well will need to have an excellent piano technique. Many of the techniques that feature in the popular piano styles of the 20th century can be identified in Bubbling Over. A light piano touch is needed and players need to play accurately and above all with rhythmic security and command. Gibbons is fond of using 2 bar links enabling him to change the mood and key in his music and there is an example of this from bar 77-78. Managing the weight in the hands is crucial in performing complex chordal music like this on a piano. It’s probably best to learn the movement as three separate sections and then perform the work as a whole. Careful attention needs to be paid to the note reading and the stretches in both hands need to be carefully managed. The swing style of playing requires the music to be performed with a triplet feel and this is not particularly well represented on the sheet music page with clarity. This is the reason why it is important and necessary for pianists to listen to Carroll Gibbons recordings playing his own music. The chromatic element in the writing is strong.
The pianos in England when this music was composed were often made by Challen which had quite a light touch.
Bubbling Over is described as a Foxtrot and has a sectional structure. After a 4 bar introduction there is a 35 bar A section in the key of D succeeded by a 32 bar B section in the key of F. After a two bar link this is followed by a 32 bar section in the key of G with the final section being a repeat of the opening Section A with the addition of a 6 bar coda. The A section is very typical of novelty music style whilst the B section is chordal in character. Section C features cross hand playing with the melody played in the tenor line with a bass line and off beat chords succeeded by the repetition of the A section and coda. His arrangements demonstrate a great awareness of harmonic colouring in both the choice of chords in the harmonic progression sense and the additional notes added to chords. Close
Added: 5th July, 2024 13:07 PM |
Views : 412
The blues scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Impr Show More...
The blues scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Free sheet music download:
The scale needs to be played as notated and straight refers to the fact that it is to be played evenly with the avoidance on any rhythmic emphasis. In the blues scale the 3rd and 7th notes are flattened.
When learning the scale familiarise yourself with the sound and structure of the scale. This scale has been notated using accidentals because it is outside the major minor tonal system.
Playing blues scales introduces players to other cultural and geographical aspects of music. Playing blues scales provide different sounds and challenge to the musical ear and help develop and broaden listening skills. mp3 play-a-long tracks can be easily accessed and downloaded to a mobile phone from the website to improve music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) and are presented in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 72 quarter note or crotchet beats to the minute.
Improve music practice routines and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads.
Each scale is to be played 3 times with a one bar gap between each scale.
PlentyMusic scale practice exercises are designed to improve technical skills and are presented in a metrical context enabling keyboard players to practice and improve their technical & aural skills as part of an ensemble playing activity.
A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows:
right hand two octaves
left hand two octaves
right and left hands together two octaves similar motion
right and left hands together two octaves contrary motion
Keep to the specified fingering
Remember that In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato).
Playing scales does involve repetition but at the same time they need to be played with engagement and concentration
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys. Close
Added: 30th June, 2024 06:06 AM |
Views : 453
The blues scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Impr Show More...
The blues scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Free sheet music download:
The scale needs to be played as notated and swing refers to the fact that the pattern of three notes are to be played in a triplet pattern. Triplets involves playing three eighth or quaver notes for each beat and is a characteristic feature of swing music. Swing playing started featuring in popular music in the early 20th century and is a strong feature in many popular styles performed today particularly in the jazz and blues music area. There are often ambiguities in the way that swing music is notated.
When learning the scale familiarise yourself with the sound and structure of the scale. In the blues scale the 3rd and 7th notes are flattened. This scale has been notated using accidentals because it is outside the major minor tonal system. Playing blues scales introduces players to other cultural and geographical aspects of music. Playing blues scales provide different sounds and challenge to the musical ear and help develop and broaden listening skills. mp3 play-a-long tracks can be easily accessed and downloaded to a mobile phone from the website to improve music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) and are presented in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 72 quarter note or crotchet beats to the minute.
Improve music practice routines and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads.
Each scale is to be played 3 times with a one bar gap between each scale.
PlentyMusic scale practice exercises are designed to improve technical skills and are presented in a metrical context enabling keyboard players to practice and improve their technical & aural skills as part of an ensemble playing activity.
A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows:
right hand two octaves
left hand two octaves
right and left hands together two octaves similar motion
right and left hands together two octaves contrary motion
Keep to the specified fingering
Remember that In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato).
Playing scales does involve repetition but at the same time they need to be played with engagement and concentration
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys.
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. Close
Added: 29th June, 2024 08:06 AM |
Views : 505
The scale of C Mixolydian mode presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Imp Show More...
The scale of C Mixolydian mode presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing.
When learning the scale familiarise yourself with the sound and structure of the scale. Playing modal scales introduces players & listeners to other cultural and geographical aspects of music. Playing modal scales offer a different sound and challenge to the musical ear and help develop and broaden listening skills.
mp3 play-a-long tracks can be easily accessed and downloaded to a mobile phone from the website to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 84 quarter note or crotchet beats to the minute.
Improve music practice routines and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale.
Remember that PlentyMusic scale drills are presented in a metrical context to provide an ensemble experience. A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together two octaves contrary motion
Do keep to the specified fingering Remember that In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato).
Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Thumb under & third & fourth finger over preparation is a crucial aspect of keyboard technique that needs to be practiced.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Close
Added: 7th June, 2024 07:06 AM |
Views : 501
J.S. Zamecnik’s Polly a noveltypiano solo was published in 1926. A lively movement it need to be played in a swing style.
The novelty pianists we Show More...
J.S. Zamecnik’s Polly a noveltypiano solo was published in 1926. A lively movement it need to be played in a swing style.
The novelty pianists were unique musicians and performers generally possessing great keyboard technique and frequently were well trained musicians. They were attracted to playing music in the popular popular music style pretty much established by Scott Joplin and others in the ragtime era.
Whilst the realisation plays back at 66 half note or minim beats to the minute the movement can and is often played much faster.
In the video score some of the score detail has been hidden because graphics behave inconsistently in this format.
The conventions used in the notation of swing music are confusing but it is communicating the swing style element that is important. The triplet pattern is the key rhythmic element.
Novelty pieces were generally composed in American March form.
Where novelty pianists and composers are particularly inventive is in their choices of rhythmic shapes and the clarity in the harmonic journey and direction of their music.
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: 4th June, 2024 13:06 PM |
Views : 465
The scale of E Dorian mode presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing t Show More...
The scale of E Dorian mode presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing.
When learning the scale get the sound in your head by singing it. The promise as such of the modal scales is that they introduce listeners and players to many other cultural aspects of music.
Playing modal scales offer a different sound and challenge to the musical ear and an and helps develop and broaden listening skill.
mp3 play-a-long tracks can be easily accessed and played back on a mobile phone from the website to improve music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 84 quarter note or crotchet beats to the minute.
Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads.
Each scale is to be played 3 times with a one bar gap between each scale. Remember that PlentyMusic scale drills are presented in a metrical context.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together two octaves contrary motion
Do keep to the specified fingering
Remember that In a sitting position the level of the keyboard should be 72.5cms above floor level
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Thumb under & third & fourth finger over preparation is a crucial aspect of keyboard technique that needs to be practiced.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There will be other challenges to scale practice in the future.
When playing scales as in most other #musicperformance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Close
Added: 1st June, 2024 07:06 AM |
Views : 473
Summer Rain by Carroll Gibbons, is an advanced level novelty piano solo, composed in 1937. The realisation plays back at 84 half note or minim beats Show More...
Summer Rain by Carroll Gibbons, is an advanced level novelty piano solo, composed in 1937. The realisation plays back at 84 half note or minim beats in the swing triplet sections and 64 half note or minim beats in all the straight slower section.
Swing playing involves playing the eighth notes or quavers in a triplet pattern or context. The swing aspect to the piano playing means that the music has to be approached with a lightness in the hands and arms. In novelty piano music the full range of the 88 note piano keyboard is often explored.
The music editor suggests learning this piece in sections subsequently playing whole phrases and sections. The tempo instruction is essentially “play the music as fast as you dare.”
The left hand stretches from bar 10 need to be managed by rolling the hand left to right so that the notes sound using a technique borrowed from the contemporary stride piano era. At bar 20 the music editor suggests that the reverse process is in place in that the rolling effect this time is from right to left. Appreciate that the notation of music in all its idioms and styles is sometimes challenging and ambiguous to understand.
The 8 bar introduction is played in a straight rhythm. The section from bar 9 to bar 68 is played in a swing style meaning that the music needs to be played with a triplet feel. This is followed by a 4 bar link in straight rhythm preceding a slower section from bar 73 to bar 104 also played without a swing feel. The final section from bar 104 to 144 is again in a swing style returning to the idiom and style of bars 6-65. In context this final section is best considered as a play out quite relevant in the broadcasting of music at the time. The sections played in a swing style need to be approached with a lightness in the hands and stretches need to be managed and practiced. The writing is pianistic meaning that the chord choices and voicing are playable. The chromatic element is also strong. Take note of the tempo changes and dynamic markings because they certainly assist in making a performance manageable.
The use of the sustaining pedal is essential when performing this style of music composed at a time when there were many fine piano manufacturers were in business in the UK.
The music editor has not been able to source as many recordings of this novelty piece as he anticipated in the preparation of the score. Additionally there is the suggestion that the notated copy of Summer Rain is very much a musical sketch. Interpret some or all of the “sketch” as you wish.
Novelty pianists in the 1920 and 1930’s were generally well trained musicians who decided on a career choice to play, arrange and compose music in the many popular music idioms and styles that emerged in the 1920’s and 30’s. Broadcast opportunities, the recording and film industries also provided additional incentives and motivation.
Playing through the repertoire of this great period of song writing 1920- 1940’s enabled GIbbons and other contemporary pianists to acquire a unique knowledge of chords and harmonic options and choices available when it came to composing their own music.
Carroll Gibbons was a most gifted pianist although other novelty pianists and composers have left more extensive legacies of notated and published music.
Carroll Gibbons was an exceptional music performer and he left a rich recording legacy although sadly only a few instrumental pieces were published for piano.
The strength of Gibbon’s writing is in the inventiveness of both the rhythmic and melodic elements combined with a nuanced choice of chords. The fully voiced chord choices in the piano writing more than suggest his background as a band leader.
His piano touch and technique were unique – he was a quite exceptional musical leader and performer.
Carroll Gibbons, although born in America, became a London based pianist and band leader working at the Savoy Hotel and leading the Savoy Opheans. He worked for HMV as Director of Light Music and recorded extensively with a small combo group known as Carroll Gibbons and his Boyfriends. The recording legacy of popular songs of the day features singers Anne Lenner and Hildegarde. He was a wonderful pianist and there are a few clips of his playing can be seen on YouTube. Close
Added: 23rd May, 2024 10:05 AM |
Views : 439
Nola by Felix Arndt in an arrangement for piano duet by John Zamecnik. Nola is frequently referred to as the first novelty piano piece, a musical idio Show More...
Nola by Felix Arndt in an arrangement for piano duet by John Zamecnik. Nola 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.
Piano accompaniments are in place allowing duo 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 primo part is on one side of the stereo channel and the secondo part on the other.
John Zamecnik was a gifted Ameican composer, conductor and arranger of Czech extraction who studied at the Prague Conservatory of Music with Dvorak,. He is mainly known for his silent movie scores often composed using pseudonyms and published by Samuel Fox. He lived in Cleveland.
The 2/2 time signature indicates that Nola needs to be played with a sense of two beats in the bar
Both referencing and understanding the swing style this music needs to played with a clrear understanding meaning that the triplet figuration prevails.
Arndt was a New York based composer and pianist who tragically died during the Spanish Flu epidemic in 1919.
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, particularly phrase markings 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. Tension in the fingers, hands and arms is something to be avoided and this can be partly achieved by keeping a lightness in the hands and arms and secure fingering. Fingers need to be close to the keys.
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 the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms.
The left hand playing style of the bass and chords owes its origins to the ragtime era.
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 score years 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 also several dance step references in the music The triplet swing pattern additionally imbues this music. Close
Added: 11th May, 2024 16:05 PM |
Views : 375
Moonbeams Dance by Carroll Gibbons needs to be played in a swing style meaning that a triplet feel needs to be communicated in performances of the mus Show More...
Moonbeams Dance by Carroll Gibbons needs to be played in a swing style meaning that a triplet feel needs to be communicated in performances of the music. Novelty piano succeeded the ragtime era of the early 20th century. The realisation plays back at a tempo of 110 bpm.
Much novelty music was written for the piano and many of the pianists were simply wizards in terms of their skill at playing the instrument. That said there is a strong repetitive element in the musical style which enable challenges to be managed. There are many technical challenges to manage when playing this movement and they can be mastered if each is identified and practiced methodically whilst retaining a lightness in the hands.
The music editor deliberately avoids putting more than one articulation marking on a note.
The rôle of the left hand is to essentially play the bass and accompanying chords.
The left hand stretches often involve leaps of a tenth and more and in this respect there is a connection with stride piano which is a related style also emerging from ragtime piano.
Novelty piano music tends to be played at a fast tempo. The 110 quarter note beats to the minute tempo in the sheet music video score is, the music editor suggests, a rather cautious tempo.
Carroll Gibbons was a American pianist, composer and band leader largely remembered for his recordings and performances in London during the 1930’s & 1940’s.
A wonderful piano player there are a few video clips available on YouTube that can be viewed to observe the great facility and technique that he possessed.
The music combines bass & chord with an inventive and energetic melody line.
The musical ideas and figuration that feature in Moonbeams Dance are understandably pianistic and fourths are a strong feature in the repeating A section.
The phrase structure generally refences the characteristic 8 bar patterns typical of music from the dance band era with which Carroll Gibbons was closely associated.
A knowledge of chords and how they are described is a requirement playing this and many other popular music styles. The chromatic element is also quite strong.
The sectional form of the movement can be summarised as follows: Intro A B A C D A Coda Close
Added: 11th May, 2024 09:05 AM |
Views : 541
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. Li Show More...
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.
Nola needs to be played in a swing style simply meaning that the triplet figuration prevails.
Arndt was a New York based composer and pianist who died during the Spanish Flu epidemic in 1919.
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, particularly phrase markings 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. Tension in the fingers, hands and arms is something to be avoided and this can be partly achieved by keeping a lightness in the hands and arms and secure fingering. Fingers need to be close to the keys.
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 the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms.
The left hand playing style of the bass and chords owes its origins to the ragtime era.
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 D – D minor – D – G - D
Novelty piano music has a strong connection with ragtime particularly in its formal patterns and shapes.
Whilst the repetitive element is strong the composer does not make use of repeat signs. Close
Added: 17th April, 2024 10:04 AM |
Views : 591
The scale of F melodic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level s Show More...
The scale of F melodic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Download the mp3’s to a mobile phone or tablet to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm)
Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads.
Each scale in this drill is played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows: right hand two octaves | left hand two octaves | right and left hands together two octaves similar motion | right and left hands together two octaves contrary motion.
Do keep to the specified fingering.
In a sitting position the level of the keyboard should be 72.5cms above floor level. Check this although if you are in a standing position when practising or warming up it maybe be more relevant to adjust the keyboard level.
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve much repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional future challenges from PlentyMusic as to how scales can be played.
Under/over thumb & finger preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in future video posts.
Please feedback to PlentyMusic on any additional warm ups or practice drills required
Look out for the PlentyMusic videos in the future with practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do constantly have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus.
When playing scales as in most other music performance contexts fingers need to be both relaxed and close to the keys
Do understand the rôle playing aspect of playing a keyboard instrument | the weight of the arm & hand should be imagined to be being released or even flowing out through the finger tips. As a mental exercise this is a challenge.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Don’t get stuck in the mud (too much unnecessary repeated practice) is the best advice. Close
Added: 21st March, 2024 16:03 PM |
Views : 595
The scale of F harmonic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level Show More...
The scale of F harmonic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Download the mp3’s to a mobile phone to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm)
Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads.
Each scale in this drill is played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows: right hand two octaves | left hand two octaves | right and left hands together two octaves similar motion | right and left hands together two octaves contrary motion
Do keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level. Check this although if you are in a standing position when practising or warming up it maybe be more relevant to adjust the keyboard level.
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve much repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional future challenges from PlentyMusic as to how scales can be played.
Under/over thumb & finger preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in future video posts.
Please feedback to PlentyMusic on any additional warm ups or practice drills required
Look out for the PlentyMusic videos in the future with practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do constantly have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus.
When playing scales as in most other music performance contexts fingers need to be both relaxed and close to the keys
Do understand the rôle playing aspect of playing a keyboard instrument | the weight of the arm & hand should be imagined to be being released or even flowing out through the finger tips. As a mental exercise this is a challenge.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Don’t get stuck in the mud (too much unnecessary repeated practice) is the best advice. Close
Added: 21st March, 2024 14:03 PM |
Views : 548
The scale of C melodic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level s Show More...
The scale of C melodic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Download the mp3’s to a mobile phone to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm)
Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads.
Each scale in this drill is played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows: right hand two octaves | left hand two octaves | right and left hands together two octaves similar motion | right and left hands together two octaves contrary motion .
Do keep to the specified fingering.
In a sitting position the level of the keyboard should be 72.5cms above floor level. Check this although if you are in a standing position when practising or warming up it maybe be more relevant to adjust the keyboard level.
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve much repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional future challenges from PlentyMusic as to how scales can be played.
Under/over thumb & finger preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in future video posts.
Please feedback to PlentyMusic on any additional warm ups or practice drills required
Look out for the PlentyMusic videos in the future with practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do constantly have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus.
When playing scales as in most other music performance contexts fingers need to be both relaxed and close to the keys
Do understand the rôle playing aspect of playing a keyboard instrument | the weight of the arm & hand should be imagined to be being released or even flowing out through the finger tips. As a mental exercise this is a challenge.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Don’t get stuck in the mud (too much unnecessary repeated practice) is the best advice. Close
Added: 21st March, 2024 08:03 AM |
Views : 560
The scale of C harmonic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level Show More...
The scale of C harmonic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Download the mp3’s to a mobile phone to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm)
Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads.
Each scale in this drill is played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows: right hand two octaves | left hand two octaves | right and left hands together two octaves similar motion | right and left hands together two octaves contrary motion
Do keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level. Check this although if you are in a standing position when practising or warming up it maybe be more relevant to adjust the keyboard level.
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve much repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional future challenges from PlentyMusic as to how scales can be played.
Under/over thumb & finger preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in future video posts.
Please feedback to PlentyMusic on any additional warm ups or practice drills required
Look out for the PlentyMusic videos in the future with practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do constantly have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus.
When playing scales as in most other music performance contexts fingers need to be both relaxed and close to the keys
Do understand the rôle playing aspect of playing a keyboard instrument | the weight of the arm & hand should be imagined to be being released or even flowing out through the finger tips. As a mental exercise this is a challenge.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Don’t get stuck in the mud (too much unnecessary repeated practice) is the best advice. Close
Added: 21st March, 2024 08:03 AM |
Views : 564
The scale of A major presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Show More...
The scale of A major presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing.
The major scale has the following structure/ pattern Tone | Tone | Semitone | Tone | Tone | Tone | Semitone
The pattern is repeated going both up and down the scale.
Play the scale slowly in the first instance until the sound and shape are familiar.
More improver scales and backing tracks are available on the PlentyMusic website. Download mp3’s to a mobile phone to improve music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm)
Improve music practice and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads.
Each scale is played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together one octave contrary motion
Do keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional challenges from PlentyMusic as to how scales can be played.
Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video posts.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place.
Look out for the PlentyMusic videos later in the year with practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus.
When playing scales as in most other #musicperformance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges.
Why practice scales?
Scale practice does help in improving technique and spatial awareness of the keyboard layout.
Security in playing scales means that the fingers get used to being in the right place.
Playing scales is good preparation for playing more difficult pieces
Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view.
If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique.
Playing scales encourages the development of a secure and controlled technique in playing.
Playing scales particularly when playing in contrary motion encourages independence of the hands.
Playing scales is helpful in managing stretches and stresses in keyboard playing. Close
Added: 8th February, 2024 14:02 PM |
Views : 652
The scale of G melodic minor presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing Show More...
The scale of G melodic minor presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing.
The melodic minor scale is a challenge because the notes going up and down the scale are different.
The structure of the scale going up is: tone | semitone | tone| tone | tone | tone |semitone and the structure going down is tone | tone | semitone | tone | tone | semitone | tone
When learning the minor scale in whatever form the scale needs to be played slowly in the first instance until the sound and shape are familiar.
Playing the harmonic minor scale is an easier option because the same notes are played going up and down the scale.
More improver scales and backing tracks are available on the PlentyMusic website. Download mp3’s to a mobile phone to improve music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm). The playback score on the free mp3 download is 84bpm.
Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads.
Each scale is played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together one octave contrary motion
Do keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional challenges from PlentyMusic as to how scales can be played.
Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video posts.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place.
Look out for the PlentyMusic videos later in the year with practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus.
When playing scales as in most other #musicperformance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Close
Added: 3rd February, 2024 14:02 PM |
Views : 513
The scale of G harmonic minor presented as a practice drill or warm up where keyboard & # piano players can # play-a-long & accompany the available ba Show More...
The scale of G harmonic minor presented as a practice drill or warm up where keyboard & # piano players can # play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing.
More improver scales and backing tracks are available on the PlentyMusic website and Download mp3’s to a mobile phone to improve music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm)
Improve music practice and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads.
Each scale is played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together one octave contrary motion
Do keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional challenges from PlentyMusic as to how scales can be played.
Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place.
Look out for the PlentyMusic videos later in the year with practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus.
When playing scales as in most other #musicperformance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Close
Added: 23rd January, 2024 10:01 AM |
Views : 571
The scale of D presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Impro Show More...
The scale of D presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing.
The backing tracks are available on the PlentyMusic website. Access them on a mobile phone to improve your music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm). The example mp3 plays back at a tempo of 120bpm.
Improve music practice and make progress with PlentyMusic pdf sheet music & mp3 accompaniment downloads.
Each scale is to be played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together one octave contrary motion
Do keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional challenges from PlentyMusic as to how scales can be played.
Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place.
Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other challenges coming soon as your playing progresses and improves.
When playing scales as in most other #musicperformance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges.
Why practice scales?
Scale practice does help in improving technique and spatial awareness of the keyboard layout.
Security in playing scales means that the fingers get used to being in the right place.
Playing scales is good preparation for playing more difficult pieces
Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view.
If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique.
Playing scales encourages the development of a secure and controlled technique in playing.
Playing scales particularly when playing in contrary motion encourages independence of the hands.
Playing scales is helpful in managing stretches and stresses in keyboard playing. Close
Added: 8th January, 2024 19:01 PM |
Views : 645
The scale of E minor in its harmonic version presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the a Show More...
The scale of E minor in its harmonic version presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing
Mp3 can be easily accessed and played back on a mobile phone from the website to improve music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 84 quarter note or crotchet beats to the minute.
Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads.
Each scale is to be played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together two octaves contrary motion
Do keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional challenges from PlentyMusic as to how scales can be played..
Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place.
Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other challenges coming soon as your playing progresses and improves.
When playing scales as in most other #musicperformance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges.
Why practice scales?
Scale practice does help in improving technique and spatial awareness of the keyboard layout.
Security in playing scales means that the fingers get used to being in the right place at the right time..
Playing scales is good preparation for playing more difficult pieces
Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view.
If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique.
Playing scales encourages the development of a secure and controlled technique in playing.
Playing scales particularly when playing in contrary motion encourages independence of the hands.
Playing scales is helpful in managing stretches and stresses in keyboard playing. Close
Added: 7th January, 2024 15:01 PM |
Views : 622
The scale of D minor in its harmonic version presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the a Show More...
The scale of D minor in its harmonic version presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing track. Improver level scales involve 2 octave playing. The playback tempo in the music example is 96bpm.
Mp3 can be easily accessed on a mobile phone to improve your music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm)
Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads.
Each scale is to be played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together two octaves contrary motion
Do keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional challenges from PlentyMusic as to how scales can be played..
Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place.
Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other challenges coming soon as your playing progresses and improves.
When playing scales as in most other #musicperformance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges.
Why practice scales?
Scale practice does help in improving technique and spatial awareness of the keyboard layout.
Security in playing scales means that the fingers get used to being in the right place at the right time..
Playing scales is good preparation for playing more difficult pieces
Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view.
If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique.
Playing scales encourages the development of a secure and controlled technique in playing.
Playing scales particularly when playing in contrary motion encourages independence of the hands.
Playing scales is helpful in managing stretches and stresses in keyboard playing. Close
Added: 26th December, 2023 07:12 AM |
Views : 717
The scale of G presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing track. Improv Show More...
The scale of G presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing track. Improver level scales involve 2 octave playing.
The backing tracks are available both on the PlentyMusic website and our YouTube channel. Access them on a mobile phone to improve your music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm)
Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads.
Each scale is to be played 3 times with a one bar gap between each scale.
An ideal performance context for this scale is Franz Schubert’s Children’s March D. XX arranged for piano duet
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together one octave contrary motion
Do keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional challenges from PlentyMusic as to how scales can be played.
Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place.
Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other challenges coming soon as your playing progresses and improves.
When playing scales as in most other #musicperformance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges.
Why practice scales?
Scale practice does help in improving technique and spatial awareness of the keyboard layout.
Security in playing scales means that the fingers get used to being in the right place.
Playing scales is good preparation for playing more difficult pieces
Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view.
If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique.
Playing scales encourages the development of a secure and controlled technique in playing.
Playing scales particularly when playing in contrary motion encourages independence of the hands.
Playing scales is helpful in managing stretches and stresses in keyboard playing. Close
Added: 20th December, 2023 12:12 PM |
Views : 725
The scale of F major presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Show More...
The scale of F major presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing. The sheet music is available as a free score.
Access the backing tracks from a mobile phone to improve music practice routines.
The accompaniment tracks have a range of tempo from 60 through to 144 beats per minute (bpm) in incremental jumps of 12 beats to the minute.
Each scale is to be played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together one octave contrary motion
Keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional challenges from PlentyMusic as to how scales can be played.
The thumb under third and fourth finger movement together with third and fourth finger over the thumb are movements in playing the scale that merit particularly attention.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other PlentyMusic technical challenges coming soon to help keyboard players make progress and improve.
When playing scales as in most music performance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges.
Why practice scales?
Scale practice does help in improving technique and spatial awareness of the keyboard layout.
Security in playing scales means that the fingers become familiar to being in the right place and the right time.
Playing scales is good preparation for playing more difficult pieces
Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view.
If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique.
Playing scales encourages the development of a secure and controlled technique in playing.
Playing scales particularly when playing in contrary motion encourages independence of the hands.
Playing scales is helpful in managing stretches and stresses in keyboard playing.
pdf sheet music scores and mp3 accompaniments can be downloaded from the PlentyMusic website. Close
Added: 16th December, 2023 13:12 PM |
Views : 768
The scale of Bb major presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backingtrack. Show More...
The scale of Bb major presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backingtrack. Improver level scales involve 2 octave playing. The sheet music is available as a free score
Access the backing tracks from a mobile phone to improve your music practice routines.
The accompaniment tracks have a range of tempo from 60 throug to 144 beats per minute (bpm) in incremental jumps of 12 beats to the minute.
Each scale is to be played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together one octave contrary motion
Keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional challenges from PlentyMusic as to how scales can be played.
The thumb under third and fourth finger movement together with third and fourth finger over the thumb are movements in playing the scale that merit particularly attention.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other PlentyMusic technical challenges coming soon to help keyboard players make progress and improve.
When playing scales as in most music performance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Close
Added: 7th December, 2023 10:12 AM |
Views : 722
J.S.Bach’s Invention No. 5 BWV 776 in Eb is a dynamic and lively movement featuring patterns and shapes that have a strong unifying element.
In the Show More...
J.S.Bach’s Invention No. 5 BWV 776 in Eb is a dynamic and lively movement featuring patterns and shapes that have a strong unifying element.
In the sheet music video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel the ornaments have been written out in full to clarify how they should be played. In this energetic and lively invention the lower mordent is a particular features.
The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. As for many of the inventions it is possibly a good idea to play the first two bars (possibly 4 bars) until they are known thoroughly before progressing to the rest of the movement.
The inventions provide excellent opportunities for musicians to improve and develop a secure keyboard technique.
Suggested fingering in this invention is frequently based on the direction in which the hands are moving particularly relevant for this movement because both hands are busy.
An engaging and dynamic performance piece that needs to played at around 88 - 100 quarter note or crotchet beats to the minute.
On the compositional processes front the sequence is quite an evident compositional process in this invention
Remember that music needs to be performed slowly before it can be performed quickly.
The last bar has been edited to represent current performance practice.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique.
On a piano or weighted keyboard there is an opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Keyboard players will find it rewarding to listen to performances of this invention on streaming platforms to get a sense of the importance of this aspect of piano playing.
A plain score is attached to the edited music score available as a pdf download from the PlentyMusic website. Close
Added: 13th October, 2023 17:10 PM |
Views : 728
J.S.Bach’s Invention 2 BWV 773 is an intermediate level movement in the key of C minor. It needs to be played with a legato touch.
The playback t Show More...
J.S.Bach’s Invention 2 BWV 773 is an intermediate level movement in the key of C minor. It needs to be played with a legato touch.
The playback tempo of the realisation is 52 beats per minute (bpm) and the music editor suggests omitting the ornaments when learning the piece.
Like many of the inventions it that can be played on a range of keyboard instruments and by a number of different instrument combinations.
To understand how the ornaments should be played keyboard players can refer to the sheet music video on the PlentyMusic You Tube channel. In this video the ornaments have been written out in full to clarify how they should be played.
The inventions composed in two parts or voices are concentrated and demanding movements to play. In these works it is important to keep to keep to the length of the written note values
Keyboard players will need to their fingers close to the keys and play with a lightness in the hands. Pianists will perhaps recognise that the weaker fingers need some extra practice and to solve this issue the music editor suggests practising thirds.
There is opportunity to explore right hand over left playing (bar 18) and changing fingering on a repeated note.
The opening shape or motif is quite long and the mood of this invention is quite melancholy with a characteristic minor 7th interval. The movement needs to played evenly and consistently with a legato touch and keyboard players will need to play with a lightness in the hands. Ornaments are in place but possibly can be omitted in the early stages of learning the piece. The inventions were originally intended to be played on the harpsichord and there is more than one suggestion of a two manual instrument in this particular invention.
Composed in the key of C minor the key journey is confined to the closely related keys of the dominant (bar 7), relative minor (bar 15) and sub-dominant (bar 20). Keys, understand, are not always established as such but are described as passing modulations in the baroque era. A key or change of key is generally thought of being established when there is a cadence which tends to be more the case in music from the classical era.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique.
A plain score is attached to the edited music score available as a pdf download from the PlentyMusic website. Close
Added: 7th October, 2023 18:10 PM |
Views : 877
J.S.Bach’s Invention 2 BWV 772 is an intermediate level movement in the key of C minor. It needs to be played with a legato touch.
The playback t Show More...
J.S.Bach’s Invention 2 BWV 772 is an intermediate level movement in the key of C minor. It needs to be played with a legato touch.
The playback tempo of the realisation is 52 beats per minute (bpm) and the music editor suggests omitting the ornaments when learning the piece.
Like many of the inventions it that can be played on a range of keyboard instruments and by a number of different instrument combinations.
To understand how the ornaments should be played keyboard players can refer to the sheet music video on the PlentyMusic You Tube channel. In this video the ornaments have been written out in full to clarify how they should be played.
The inventions composed in two parts or voices are concentrated and demanding movements to play. In these works it is important to keep to keep to the length of the written note values
Keyboard players will need to their fingers close to the keys and play with a lightness in the hands. Pianists will perhaps recognise that the weaker fingers need some extra practice and to solve this issue the music editor suggests practising thirds.
There is opportunity to explore right hand over left playing (bar 18) and changing fingering on a repeated note.
The opening shape or motif is quite long and the mood of this invention is quite melancholy with a characteristic minor 7th interval. The movement needs to played evenly and consistently with a legato touch and keyboard players will need to play with a lightness in the hands. Ornaments are in place but possibly can be omitted in the early stages of learning the piece. The inventions were originally intended to be played on the harpsichord and there is more than one suggestion of a two manual instrument in this particular invention.
Composed in the key of C minor the key journey is confined to the closely related keys of the dominant (bar 7), relative minor (bar 15) and sub-dominant (bar 20). Keys, understand, are not always established as such but are described as passing modulations in the baroque era. A key or change of key is generally thought of being established when there is a cadence which tends to be more the case in music from the classical era.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique.
A plain score is attached to the edited music score available as a pdf download from the PlentyMusic website. Close
Added: 7th October, 2023 18:10 PM |
Views : 734
J. S. Bach’s Invention 15 BWV 786 in B minor is a deliberate and purposeful movement possessing a haunting quality whilst allowing keyboard players Show More...
J. S. Bach’s Invention 15 BWV 786 in B minor is a deliberate and purposeful movement possessing a haunting quality whilst allowing keyboard players to explore keyboard touches where notes are articulated staccato and/or staccatissimo.
The realisation plays back at 72 quarter note or crotchet beats to the minute.
A movement that needs to be played with intention, consistency and purposefulness
During practice routines keyboard players can vary their playing approach to encompass the different piano articulations that can be used playing the movement.
The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and more or less and imitate current modern performance practice.
Ornaments are applied consistently although there is scope for players to make some additions particularly at important cadence points in movements where the option of more notes in the cadential trills can be explored.
In the video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played.
The Bach Inventions are generally intermediate level movements when played on a keyboard instrument.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique.
There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is.
A plain score is attached to the edited music score. Close
Added: 7th October, 2023 16:10 PM |
Views : 837
Invention 12 BWV 783 is in the key of A and is a movement that communicates purpose and intention.
The music editor suggests that keyboard players sh Show More...
Invention 12 BWV 783 is in the key of A and is a movement that communicates purpose and intention.
The music editor suggests that keyboard players should learn the movement in the first instance without the ornaments in place being played indicated in the sheet music score. What is important in delivering the intention of the music and the music only really becomes alive at the tempo of 68 dotted quarter note or dotted crotchet notes to the minute.
At the same time it would be lovely to know what the tempo this invention was in Bach’s own time when there was no vision of the piano as becoming the keyboard instrument of choice
The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and imitate current modern performance practice.
The edited music score has suggested fingering in place although when it comes to playing the more complicated trills keyboard players will need to refer to the sheet music video score on the PlentyMusic YouTube channel to work out appropriate fingers to use for he playing of these ornaments.
The Bach Inventions are generally intermediate level movements when played on a keyboard instrument.
Many keyboard players whether pianists or harpsichordists approach this invention as if they are playing a virtuoso work which in many ways is surprisingly because the movement was composed well before the time that this concept was suggested attributed to describe the playing of N. Paganini.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique.
There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is.
A plain score is attached to the edited music score. Close
Added: 7th October, 2023 13:10 PM |
Views : 709
J .S. Bach’s Invention 11 BWV 782 is a work exploring the scale of G minor. The chromatic element is quite strong and the resulting accidentals make Show More...
J .S. Bach’s Invention 11 BWV 782 is a work exploring the scale of G minor. The chromatic element is quite strong and the resulting accidentals make this a challenging score to read. The playback score has a tempo of 64 quarter note or crotchet beats to the minute.
It is a movement that can be played at an even slower tempo than 64 bpm.
Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing should be avoided.
The music editor has avoided ornaments occurring in both voices at the same time.
The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and more or less and imitate current modern performance practice.
Ornaments are applied consistently although there is scope for players to make some additions particularly at important cadence points in movements where the option of more notes in the cadential trill can be explored. This is particularly the case in music played at relative slow tempi.
In the video score the ornaments have been written out as they sound in the realisation to represent exactly what is being played.
This invention provides an excellent opportunity for players to become familiar with the scale of G minor in both its harmonic and melodic minor forms.
Players will possibly need to edit their scores with reminders about accidentals within the bar.
The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Playing levels will perhaps need to be reviewed when different instrument combinations are involved.
There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms to get a sense of how important an aspect of piano playing this is.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity.
Those learning how to use music notation software will find this another excellent study to copy simply because of the many accidentals that require attention. Close
Added: 7th October, 2023 07:10 AM |
Views : 735
Invention 10 BWV 781 in the key of G is a challenging invention to play simply from how individual keyboard players approach how to articulate the no Show More...
Invention 10 BWV 781 in the key of G is a challenging invention to play simply from how individual keyboard players approach how to articulate the notes point.
It is interesting to observe the approaches to playing this movement. Many play the invention articulating the eighth note or quavers staccato while others play the movement with a legato touch. The former approach requires a lightness in the hands and can be a challenging to play because of the tension that is created in the hands and wrist.
Players should listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. What is fascinating is to hear some of the greatest pianists and harpsichordists playing what are really considered to be basic learning pieces.
The best way of learning anything about music is by listening although in this modern world video footage now offers a very supportive and complementary medium particularly when camera angles allow viewers to see what musician’s hands are during a performance.
In the video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Articulation markings are also indicated in this particular score. The music editor has avoided placing ornaments occurring at the same time in the two voices. The long trills occurring in bar 20 (treble clef) and bar 23 (bass clef) need to be played in a rhythmical and controlled manner with the left hand trill mirroring the right hand.
The suggested fingering in place on the edited music score is frequently determined by the direction in which the music and the hands are moving.
Remember that movements cannot be played quickly until they be played slowly!
The music editor has chosen not to double ornaments where they occur in both voices simply because it lessens and contradicts the contrast in the parts.
The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument.
There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique.
A plain score is attached to the edited music score. Close
Added: 6th October, 2023 16:10 PM |
Views : 840
J.S.Bach’s Invention No. 9 BWV 780 is a slow tempo movement in the key of F minor. A haunting and melancholy movement, the realisation plays back at Show More...
J.S.Bach’s Invention No. 9 BWV 780 is a slow tempo movement in the key of F minor. A haunting and melancholy movement, the realisation plays back at 60 quarter note or crotchet beats to the minute. It is a movement that can be played at an even slower tempo. Legato playing is also needed in a performance.
The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and more or less and imitate current modern performance practice. Ornaments are applied consistently although there is scope for players to make some additions particularly at important cadence points in movements where the option of more notes in the trill can be explored.
In the sheet music video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played.
Players may well possibly need to edit their scores with reminders about accidentals within the bar.
Playing the scale of F minor in the harmonic and melodic versions will provide a valuable assist in preparing this invention for performance.
F minor in much of J.S.Bach’s music is a key identified with melancholy and pathos particularly with a falling or sighing motif as heard in the opening of this invention.
The Bach Inventions are generally intermediate level movements when played on a keyboard instrument.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey.
Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity.
The intention in the duo arrangement is to help players become better ensemble players and to grow as musicians playing music as close to the composer’s intentions as possible.
These are concentrated and demanding movements to play.
There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms to get a sense of how important an aspect of piano playing this is.
Those learning how to use music notation software will find this an excellent and frustrating study to copy simply because of the many accidentals that require attention.
A plain score is attached to the edited music score. Close
Added: 5th October, 2023 14:10 PM |
Views : 798
J.S.Bach’s Invention No. 3 BWV 773 in the key of D offers rhythmic challenges to the keyboard player. It is an intermediate level movement with the Show More...
J.S.Bach’s Invention No. 3 BWV 773 in the key of D offers rhythmic challenges to the keyboard player. It is an intermediate level movement with the playback tempo of the realisation being 56 dotted quarter note or crotchet beats to the beats per minute (bpm) It is best to play the work with a sense of there being one beat to the bar.
There are three scores available in the download i) and edited music score with suggested fingering in place and with the ornaments written out as in the sheet music video ii) a plain score and iii) an edited sheet music score with suggested fingering in place and the ornaments indicated.
The music editor suggests that this a challenging invention to play. For those wishing for clarification as to how the ornaments should be played refer to the video score on the PlentyMusic YouTube channel.
The ornaments are probably best omitted when learning the piece whilst fingers need to be kept as close as possible to the piano keys. Suggested fingering is in place in the edited score.
The inventions are concentrated and demanding movements to play for the intermediate level player.
This is an interesting Invention to study because of the wide variation in how the movement is performed particularly from the tempo point of view and the approach to playing the ornaments. Many pianists for example trill the long tied notes beginning at bar 26. The points of imitation at the start of the phrases are something that keyboard players need to particularly communicate in their playing. The Inventions benefit from being played with a lightness in the hands and consideration as to how notes are articulated. Exaggerated playing should be avoided and is not appropriate to this style.
The limitations of the realisation is that the weight distribution between the hands is not truly represented in how the music should be played on the piano.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique.
A plain score is appended to the edited music score. Close
Added: 3rd October, 2023 09:10 AM |
Views : 798
J.S.Bach’s Invention 7 BWV 778 is in the key of E minor. In the opening section the phrases end on the first eighth note quaver beat of the bar. Pl Show More...
J.S.Bach’s Invention 7 BWV 778 is in the key of E minor. In the opening section the phrases end on the first eighth note quaver beat of the bar. Playing the E minor scale in both its harmonic and melodic forms will provide excellent preparation for playing this invention. Bach’s inventiveness is usually demonstrated in formal templates familiar to him and those either playing or listening to his music. Both vocal and instrumental models are used. The music editor believes the best way of approaching the playing of this work is with an essentially legato touch with some variation in touch in place in the bars where the line is in eighth notes or quavers and ornaments are not being played. In all music beauty of sound combined with interpretative intention must be aim of the musician(s) involved. One of the most interesting aspects of this invention is the variety of performance approaches that are demonstrated particularly by keyboard players. Some articulate the notes with great consideration while others interpret the movement as if it is a vocal work with an approach suggesting a declamatory delivery. The long trills are a challenge but can be omitted on the piano which has a sustaining quality unlike the harpsichord for which the work was primarily intended and the main domestic keyboard instrument of Bach’s own time. When introduced they need to be played rhythmically and with an intention suggesting the keyboard player is in control. The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and more or less and imitate current modern performance practice. Ornaments are applied consistently although there is scope for players to make some additions particularly at important cadence points in movements where the option of more notes in the trill can be explored. In the sheet music video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. The realisation plays back at 72 quarter note or crotchet beats to the minute. Players will perhaps need to edit their scores with reminders about accidentals within the bar. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. A plain score is attached to the edited music score available as a pdf download from the PlentyMusic website. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms to get a sense of how important an aspect of piano playing this is. Close
Added: 25th September, 2023 14:09 PM |
Views : 725
Invention 6 BWV 777 in the key of E is a movement that features figuration and an exploration of shapes rather than ornamentation. The two voices are Show More...
Invention 6 BWV 777 in the key of E is a movement that features figuration and an exploration of shapes rather than ornamentation. The two voices are frequently moving in contrary motion. Legato playing is suggested for this invention and the realisation plays back at 32 dotted quarter note or dotted crotchet beats to the minute. The repeats whilst indicated in the sheet music score are not played in the mp3 realisation. This invention sounds so easy on the ear but it is a nightmare to read because of the accidentals.
The reading of the notes and accidentals requires attention especially in the second section and note values need to played accurately. There are opportunities to explore changing fingers on a note technique and some of the leaps need to be managed when preparing a performance of this score. Remember that all good piano playing is about good preparation. Sliding a finger from a black to a white note is another technique that is appropriate when playing this invention. The familiar compositional processes of imitation, inversion, sequence feature strongly in the movement. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. What is fascinating is to hear some of the greatest pianists and harpsichordists playing what are considered to be learning pieces.
The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique.
There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is. A plain sheet music score is attached to the edited music score in the pdf download. Close
Added: 25th September, 2023 11:09 AM |
Views : 746
J.S.Bach’s Invention No. 1 BWV 772 is an intermediate level movement can be played on a range of keyboard instruments and by a number of instrument Show More...
J.S.Bach’s Invention No. 1 BWV 772 is an intermediate level movement can be played on a range of keyboard instruments and by a number of instrument combinations. In the video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel the ornaments have been written out in full. to clarify how they should be played.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique.
The playback tempo of the realisation is 60 beats per minute (bpm) and the music editor suggests omitting the ornaments when learning the piece.
A plain score is attached to the edited music score available as a pdf download from the PlentyMusic website.
Composed in the key of C the key journey is confined to the closely related keys of the dominant (bar 7), relative minor (bar 15) and sub-dominant (bar 20). Keys, understand, are not always established as such but are described as passing modulations in the baroque era. A key or change of key is generally thought of being established when there is a cadence which tends to be more the case in music from the classical era.
Tempo is one of the most challenging questions when playing the Bach’s 15 Two part inventions. The music editor suggests that there is often a tendency to play these movements too quickly.
The opening motif or melodic idea is quite short in this work whilst musical ideas are repeated and imitated by the two voices. The inversion of musical ideas is a particularly strong feature in this invention. The use of sequence is another compositional process readily identifiable. Close
Added: 20th August, 2023 13:08 PM |
Views : 691
The scale of C major version is presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available bac Show More...
The scale of C major version is presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing.
The backing tracks are available both on the PlentyMusic website and our YouTube channel. Access them on a mobile phone to improve your music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm)
Improve music practice and make progress with PlentyMusic pdf sheet music & mp3 accompaniment downloads.
Each scale is to be played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together one octave contrary motion
Do keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional challenges from PlentyMusic as to how scales can be played.
The thumb under third and fourth finger movement together with third and fourth finger over thumb are movements in playing the scale that merit particularly attention and will be addressed in a PlentyMusic video later in the year.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place.
Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other challenges coming soon as your playing progresses and improves.
When playing scales as in most other #musicperformance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges.
Why practice scales?
Scale practice does help in improving technique and spatial awareness of the keyboard layout.
Security in playing scales means that the fingers become familiar to being in the right place and the right time.
Playing scales is good preparation for playing more difficult pieces
Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view.
If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique.
Playing scales encourages the development of a secure and controlled technique in playing.
Playing scales particularly when playing in contrary motion encourages independence of the hands.
Playing scales is helpful in managing stretches and stresses in keyboard playing. Close
Added: 5th August, 2023 08:08 AM |
Views : 1150
The G major arpeggio presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany a backingtrack. Beginner leve Show More...
The G major arpeggio presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany a backingtrack. Beginner level arpeggios involve single octave playing & letter names of notes appear in noteheads.
The backing tracks are available both on the PlentyMusic website and the PlentyMusicCo YouTube channel. Access them on a mobile phone, tablet or desktop to improve your music practice routines.
The accompaniment tracks have a range of tempo from 48 to 144 beats per minute (bpm) Be aware that there is a four in a bar feel to playing of these piano exercises. A good starting point is 60bpm.
Improve music practice and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads.
Playing arpeggios is simply a way of playing chords. Chords are usually played as part of a chord progression.
For this exercise suggested fingering is in place beneath the notes.
Each arpeggio is to be played twice with a 3 beat gap between each playing. This is indicated by the sound of a woodblock. The key signature for G is used in the sheet music score.
Do make sure that breathing is relaxed before, during and after playing the exercises.
Arpeggios feature in much keyboard music from classical times through to the popular music of the 20th and 21st centuries. All music performers need to have a knowledge of chords/arpeggios, their structures and their compositional contexts.
The chords in this exercise are presented in root position, (GBD) first (BDG) and second inversion (DGB) formats.
A wood block sound provides the introductory beats for the ensemble playing of each arpeggio.exercise.
The playing sequence for arpeggios is as follows:
Right hand one octave X 2
Left hand one octave X 2
Right and left hands together one octave in similar motion X 2
Root position chord arpeggios are followed by first inversions and then second inversions.
Do keep to the specified fingering although a possible option for the root position left hand arpeggio has been given.
Remember that in a sitting position the level of the keyboard should be 72.5cms above floor level.
At the beginner level the arpeggios should be played evenly & smoothly (legato).
Understand that there will be additional challenges from PlentyMusic as to how arpeggios and chords can be played particularly in the context of playing chord sequences.
How to manage stretching the hand is an aspect of arpeggio playing that needs to be considered. There are techniques for this which will be demonstrated in a PlentyMusic video later in the year.
Please feedback to PlentyMusic on any additional warmups or practice drills required or changes that need to be made to those currently in place.
Look out for the PlentyMusic videos later in the year with some practical tips on the playing the piano & keyboard.
Always make music practice both challenging and interesting.
When playing arpeggios aim to keep a lightness in the hands particularly when they are played at fast tempi. The arpeggios played at 132bpm and 144bpm are really in place as extension tasks and really are not in the boundaries of the beginner player but you never know?. Always remember that if you cannot play something at a slow tempo then you are unlikely to be able to play it at a fast tempo.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do always be aware of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing arpeggios a legato touch should remain the focus. There are other challenges coming soon as players make progress and improve.
When playing arpeggios and chords as in most other music performance contexts fingers need to remain close to the keys. The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
If you print the sheet music score available from the website and you are able to read music printing 2 pages onto one sheet of A4 is suggested.
Why practice arpeggios
Playing arpeggios helps players to understand chords in all their forms and variants.
Chords can at times be perceived as being overwhelmingly complex and challenging to get your musical head around but rest assured when explained and understood particularly in a playing context they do make sense.
A knowledge of chords is essential in music from the performance, arranging and compositional point of view. It is very reassuring that the more that one learns about chords the simpler they become.
There are four types of chord (major, minor, diminished and augmented) and matters become even challenging when additional notes are added. For the moment focus on the set tasks.
Arpeggio practice does help in improving keyboard technique.
Security in playing arpeggios assists/ means that the fingers get used to being in the right place at the right time.
Playing arpeggios in all their formats will help in preparing keyboard players for more difficult pieces
If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height does not suggest or encourage good technique.
Playing arpeggios encourages the development of a secure and controlled technique in playing.
Playing arpeggios is particularly helpful in managing stretches in keyboard playing. Close
Added: 31st July, 2023 08:07 AM |
Views : 989
The scale of C is presented as a #practicedrill or warm up where keyboard players & #piano players can #play-a-long & accompany the #backingtracks.
Show More...
The scale of C is presented as a #practicedrill or warm up where keyboard players & #piano players can #play-a-long & accompany the #backingtracks.
The backing tracks are available both on the PlentyMusic website and YouTube. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm)
Improve music practice with PlentyMusic pdf #sheetmusic & accompaniment downloads.
Each scale is to be played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand one octave
Left hand one octave
Right and left hands together one octave similar motion
Right and left hands together one octave contrary motion
Do keep to the specified fingering
At the beginner level the scales should be played evenly & smoothly (legato)
Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place.
Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice interesting and challenging
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus.
When playing scales & in most other practical musical performance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be at the finger tips.
Aways imagine when playing a keyboard instrument the the weight of the arm, hand & fingers are released as such through the finger tips
Why do we practice scales?
Scale practice does help in improving technique and developing an awareness of the range of an instrument
Security in playing scales means that the correct finger is in the right place
Playing scales is good preparation for playing more difficult pieces
Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view.
The level of the keyboard should be 72.5cms above floor level
If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards
Playing scales does encourage the development of secure technique
Playing scales does encourage the development of a controlled technique control in ones playing
Playing scales is helpful in managing stretches and stresses in keyboard playing Close
Added: 28th July, 2023 08:07 AM |
Views : 1006
The scale of A minor in its harmonic version is presented as a #practicedrill or warm up where keyboard & #piano players can #play-a-long & accompany Show More...
The scale of A minor in its harmonic version is presented as a #practicedrill or warm up where keyboard & #piano players can #play-a-long & accompany the available #backingtrack. Improver level scales involve 2 octave playing.
The backing tracks are available both on the PlentyMusic website and our YouTube channel. Access them on a mobile phone to improve your music practice routines.
The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm)
Improve music practice and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads.
Each scale is to be played 3 times with a one bar gap between each scale.
A wood block sound provides a one bar preparation for the playing of each scale exercise.
The playing sequence is as follows:
Right hand two octaves
Left hand two octaves
Right and left hands together two octaves similar motion
Right and left hands together one octave contrary motion
Do keep to the specified fingering
In a sitting position the level of the keyboard should be 72.5cms above floor level
At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved.
Understand that there will be additional challenges from PlentyMusic as to how scales can be played..
Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year.
Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place.
Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general.
Always make music practice a challenge as well as being interesting.
When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi.
Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo.
Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other challenges coming soon as your playing progresses and improves.
When playing scales as in most other #musicperformance contexts fingers need to be close to the keys
The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips.
The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges.
Why practice scales?
Scale practice does help in improving technique and spatial awareness of the keyboard layout.
Security in playing scales means that the fingers get used to being in the right place.
Playing scales is good preparation for playing more difficult pieces
Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view.
If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique.
Playing scales encourages the development of a secure and controlled technique in playing.
Playing scales particularly when playing in contrary motion encourages independence of the hands.
Playing scales is helpful in managing stretches and stresses in keyboard playing.
pdf sheet music scores and mp3 accompaniments can be downloaded from the PlentyMusic website. Improve music practice routines using PlentyMusic accompaniments and music scores. Beginner, improver, intermediate and advanced level sheet music scores are available for many different musical instrument combinations. Music scores are written and presented in staff notation. Free scores are also available. Different performing styles are also represented on the PlentyMusic website from the very earliest to classical and more recent popular times. Close
Added: 28th July, 2023 07:07 AM |
Views : 1301
Invitación by Ignacio Cervantes is a short appealing work. An intermediate level piano solo this is in the original key of Em and features the Cuban Show More...
Invitación by Ignacio Cervantes is a short appealing work. An intermediate level piano solo this is in the original key of Em and features the Cuban habanera pattern is an excellent piece for developing both solo and 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 especially if some ensemble playing is envisaged. 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.
Most of Cervantes movements are very short and benefit from being played through twice although 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 72 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.
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: 26th June, 2023 18:06 PM |
Views : 717
Clara Schumann’s “Warum willst du And’re fragen” (Why do you question others?) in an arrangement for solo piano Dating from 1841 this is a ref Show More...
Clara Schumann’s “Warum willst du And’re fragen” (Why do you question others?) in an arrangement for solo piano Dating from 1841 this is a reflective and contemplative romantic instrumental arrangement #sheet music & accompaniment links:
This arrangement was quite easy to create because the piano part essentially doubles the melody.
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.
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: 11th June, 2023 05:06 AM |
Views : 608
An intermediate level piano solo arrangement of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this cut version an alternative ending is provide Show More...
An intermediate level piano solo arrangement of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this cut version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Players can see the intended cadenza on the ossia staff and can develop their own closing section which may combine a combination of rhythmic patterns and melodic shapes. Formally this short version of the movement can be described to be internary 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 46 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. 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. 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: 25th May, 2023 14:05 PM |
Views : 978
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for organ with pedals in the key of C whilst the Ple Show More...
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for organ with pedals 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 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 an accompaniment that needs to imitate the pizzicato sound of the strings. There is opportunity for organists to introduce more variety in the registrations than is demonstrated in the realisation. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested. The repeats which are not marked in the video score do not play in the realisation. An ideal performance piece and also appropriate for weddings 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. 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 in respect 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: 3rd April, 2023 06:04 AM |
Views : 1032
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for piano the sounding key is Eb with th Show More...
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for piano the sounding key is Eb with the PlentyMusic realisation of the sheet music score playing back at 76 quarter note (crotchet) beats to the minute. Pianists can view and hear the video sheet music score on our YouTube channel.
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.
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. Use of the sustaining pedal is recommended although its use has not been indicated in the sheet music score.
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.
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.
Formally the pattern of the music can be described as binary represented as AB.
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 are keen and willing to both listen and publish work in this category. Close
Added: 3rd March, 2023 10:03 AM |
Views : 929
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for organ with pedals the sounding key i Show More...
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for organ with pedals the sounding key is Eb with the PlentyMusic realisation of the sheet music score playing back at 76 quarter note (crotchet) beats to the minute. Organists can view and hear the video sheet music score on our YouTube channel.
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. It is ideal piece of music for the Christmas season or Mothering Sunday. Brahms composed organ music and his Opus 122 chorale preludes are also worth exploring.
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.
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.
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.
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 are keen and willing to both listen and publish work in this category. Close
Added: 2nd March, 2023 09:03 AM |
Views : 774
An instrumental arrangement for intermediate level organ of Mozart’s Laudate Dominum from the Veperae solemnise de Confessore K.339 which dates from Show More...
An instrumental arrangement for intermediate level organ of Mozart’s Laudate Dominum from the Veperae solemnise de Confessore K.339 which dates from 1780. The arranger’s intention has been to prepare a performance piece containing the melody, the arpeggiated chordal accompaniment and bass line. This is classical music in its truest sense.
The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute .
The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece where reflection is appropriate.
As there is a reduction in the musical texture as some of the musical content has been omitted. As a movement lasting about 4 minutes at the suggested tempo players need to be aiming to be playing consistently.
A playing approach where two beats in the bar is communicated rather than two groups of three is suggested.
Vocal performances do tend to be performed at a slower tempo than those played by instruments.
Vocal models have been used for an interpretation of the ornaments in the realisation. They can of course be interpreted differently although consistency does need to prevail
in a performance. The ornaments have been written out in full in the video sheet music score which can be referenced on our YouTube channel if there is a need for clarification.
The piano and organ versions of the arrangement have slightly different bass lines simply reflecting the practicalities of the instrument.
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 12:02 PM |
Views : 942
An instrumental arrangement for intermediate level piano of Mozart’s Laudate Dominum dating from 1780. The arranger’s intention has been to prepar Show More...
An instrumental arrangement for intermediate level piano of Mozart’s Laudate Dominum dating from 1780. The arranger’s intention has been to prepare a performance piece containing the melody, the arpeggiated chordal accompaniment and bass line. This is classical music in its truest sense.
The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute .
The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece for reflection. Laudate Dominum is a movement from the Veperae solemnise de Confessore K.339
As there is a reduction in the musical texture some of the musical content has been omitted.
The intention of the music editor has been to prepare an arrangement which contains the melody, the arpeggiated chordal accompaniment and bass line.
There is the option of exploring the texture more fully with the addition of octaves in the section from bar
The realisation plays back at 36 dotted quarter note or crotchet beats to the minute. A playing approach where two beats in the bar is communicated rather than two groups of three is suggested.
Vocal performances do tend to be performed at a slower tempo than those that are instrumental.
In the piano version the original contexts are indicated in the score which should be a helpful assist in interpreting and understanding the music.
Vocal models have been used for an interpretation of the ornaments in the realisation. The trills can of course be interpreted differently although consistency does need to prevail
in a performance. The ornaments have been written out in full in the video sheet music score which can be referenced on our YouTube channel if there is a need for clarification.
The piano and organ versions of the arrangement have slightly different bass lines each reflecting the practicality of the instrument.
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 11:02 AM |
Views : 853
Johannes Brahms Waltz Opus 39 No. 15 arranged for solo piano
The realisation plays back at 108 quarter note crotchet beats to the minute.
The susta Show More...
Johannes Brahms Waltz Opus 39 No. 15 arranged for solo piano
The realisation plays back at 108 quarter note crotchet beats to the minute.
The sustaining pedal is used throughout the movement and has been indicated in the score for the first two lines of the sheet music.
Pedalling principles can be quite confusing but the music editor offers the following advice:
i) the sustaining pedal can be used sparingly with a ¼ pedal or incrementally as a ½, ¾ or full pedal
ii) The pedal normally changes when the harmony or chord changes
iii) the pedal is depressed essentially just after first sound that needs to be captured with a pedal sound
iv) the pedal is released as the notes are depressed for the change in harmony then depressed again (In this movement release the pedal on the first beat of the bar and depress it again before sounding the second beat) The pdf music score available from PlentyMusic has the pedalling clearly indicated for the first two lines of music. The intention must be to avoid muddiness in the sound.
v) too much pedalling or over pedalling causes too harmonic confusion (muddiness) in the sound
vi) the music editor suggests a change of pedal on the first and third beat of the bar
This is an excellent performance piece but does need to be well prepared as a popular piece a pianist cannot afford to make even the tiniest of mistakes.
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 is also a valuable practical consideration. Pianists should be aiming for a legato touch certainly in their melody playing. Whilst there are staccato markings in the left hand part this is hidden by the use of the sustain pedal.
There is an indication in the score for many of the chords to be arpeggiated imitating the sound of the harp. Not all the chords are played in this way although some pianists adopt the technique for all chords in the movement. The speed of the arpeggio is something that the software used is not able to control and the arpeggios in the realisation are possibly a little on the slow side.
The last eight bars particularly need to be played with a light touch and probably warrants some separate practice.
The notes to be sounded in the right hand on the first beat of bars 41 and 42 are Ab5 & F6. The other notes are tied oved from the previous bar.
Formally the pattern of the music can be described as AABABA .
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
The waltz emerged as a popular dance form in secular music during the 19th century and was used in both vocal and instrumental music.
The music editor suggests that playing this movement is excellent preparation for playing music by Scott Joplin and other composers of the ragtime era. Being able to play the left hand chord progressions particularly with the left hand is a challenge but has great relevance and context in the playing of modern piano music. Chopin’s piano music similarly offers great preparation.
Analysis of the movement from the harmonic point of view reveals that the tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale of Ab all feature in either root position or an inversion. Analysis will help clarify how composers were so reliant on the cycle of fifths at this particular time in music history. It remains the essence of why the music and musical journey of movements were so attractive and appealing to the musical ear.
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 miniature requires a relatively basic keyboard technique and is an excellent introduction to playing his music on a piano. The music editor also suggests that it excellent preparation for playing the popular music from a later generation namely ragtime. Joplin was well prepared as a composer by playing the music of Chopin.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
There is a piano duet version of the waltz also available. Close
Added: 30th January, 2023 09:01 AM |
Views : 866
Johannes Brahms Waltz Opus 39 No. 15 arranged for piano duet. The primo part player contributes with the melodic element whilst the secondo player pla Show More...
Johannes Brahms Waltz Opus 39 No. 15 arranged for piano duet. The primo part player contributes with the melodic element whilst the secondo player plays the bass and chords.
The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo parts. The primo part sounds on one side of the stereo channel and the secondo part sounds on the other. Accompaniments are available playing at 96, 100, 104. 108 and 112 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. When performing printing two pages of music onto one side of A4 offers a practical solution for players in respect to managing the music desk.
The realisation plays back at 108 quarter note crotchet beats to the minute.
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.
The last eight bars particularly in the primo part need to be played with a light touch.
Formally the pattern of the music can be described as ABABA
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
In the video score, which can be viewed on our YouTube Channel the graphics, namely the score detail, behaves rather consistently and some are missing
Brahms Waltzes Opus 39 were composed in 1865 a time in music history when piano duets were very popular particularly for use in music rooms in 19th century homes. Along with other more intimate music of the time, such as lied (song) they were often described as being salon music. Schubert, Brahms, Dvorak and others composed music specifically intended to be played as piano duets whilst there were arrangements of symphonies and other music of the day.
The waltz emerged as a popular dance form in secular music during the 19th century and was used in both vocal and instrumental music.
Analysis particularly of the secondo part 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 of A 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.
The piano available to Brahms in the late 1860’s would have had a much thinner sound compared with a modern instrument. As the tonal qualities would not have as been as strong as a modern piano players may need to consider softening and quietening their approach to playing the bass octaves.
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 miniature requires a relatively basic keyboard technique and is an excellent introduction to playing his music on a keyboard.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
There are many piano duets to explore on the PlentyMusic website and more will be added in the future.
There is a solo piano version of the waltz also available. Close
Added: 23rd January, 2023 12:01 PM |
Views : 932
This beginner level arrangement is available from PlentyMusic as a free sheet music score. It is intended to be used in group music teaching contexts. Show More...
This beginner level arrangement is available from PlentyMusic as a free sheet music score. It is intended to be used in group music teaching contexts. The beginner arrangement has the melody played by the right hand accompanied by chords intended to be played by the left hand. There are graphics indicating the notes to be played in the chords and the melody notes have the letter names in the notehead. The realisation plays back at 84 quarter note (crotchet) beats to the minute. Play-a-long accompaniments to encourage ensemble and solo playing are available emphasising either the melody or the chords. They are recorded at tempos of 84, 88 and 92 beats per minute and each is introduced with a click beat. If additional accompaniments are required please advise the PlentyMusic office. The sheet music download has suggested fingering and dynamics in place although the latter may only be relevant on touch sensitive instruments. Keyboard players should be aiming for a legato touch in their playing. In this beginner version ornamentation has been omitted but they are in place in the improver level sheet music score. One of the most famous and loved melodies of what is often described as the classical music repertoire although Brahms should more accurately identified as a romantic composer. The Cradle Song or Lullaby was composed by J. Brahms as the song “Weigenlied” and published in 1868. There are many beginner level piano & keyboard pieces available as free sheet pdf downloads from the PlentyMusic website Close
Added: 14th January, 2023 17:01 PM |
Views : 1602
This improver level arrangement is available from PlentyMusic as a free sheet music score. This improver level two part piano or keyboard arrangement Show More...
This improver level arrangement is available from PlentyMusic as a free sheet music score. This improver level two part piano or keyboard arrangement available as a pdf sheet music download has suggested fingering and dynamics in place. Players should be aiming for a legato touch in their playing. One of the most famous and loved melodies of what is often described as the classical music repertoire although Brahms should more accurately identified as a romantic composer. The Cradle Song or Lullaby was composed by J. Brahms as the song “Weigenlied” and published in 1868. There are many improver level piano & keyboard pieces available as free sheet pdf downloads from the PlentyMusic website. the music scores can be explored either on the website or our YouTube channel. The realisation plays back at 84 quarter note crotchet beats to the minute. Close
Added: 14th January, 2023 08:01 AM |
Views : 1253
F.J. Gossec’s Tambourin arranged for solo piano. Improve music practice routines by downloading sheet music from PlentyMusic.
A short but very appe Show More...
F.J. Gossec’s Tambourin arranged for solo piano. Improve music practice routines by downloading sheet music from PlentyMusic.
A short but very appealing movement ideal as an encore for the competent soloist warmed up and prepared to engage with the challenges of presenting a performance 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 are just some of the performance challenges to be considered.
The dance element is particularly 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 not indicated the tempo in the music score using an appropriate Italian term but players 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.
There are some rhythmic options that can be explored in the section 51- 57. The music editor suggests playing the 7 bars first as eighth note or quavers and then introducing rhythmic options 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.
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. Close
Added: 14th November, 2022 08:11 AM |
Views : 1638
Julia Florida by Agustín Barrios is an intermediate level piano transcription of a popular guitar work by the Paraguyan composer. Barrios was also a Show More...
Julia Florida by Agustín Barrios is an intermediate level piano transcription of a popular guitar work by the Paraguyan composer. Barrios was also a gifted poet and artist born in a country with a strong folk harp playing tradition.
His music, relatively unknown outside guitar circles, includes 100 original movements and some 200 arrangements of music by other composers. He also recorded and established a teaching tradition and legacy for the playing of the instrument.
His music can be identified with the late romantic tradition and is influenced by the folk music of South America , religious and European art music traditions especially the baroque.
The re-discovery of his music in the 1970’s is particularly due to the playing his music by the classical guitarist. John Williams
This transcription from guitar to piano very much keeps to the composer’s original intention. Some use of the sustaining pedal is suggested as is tempo rubato. The piano arrangement generally keeps to the voicing and intention of the guitar with the occasional addition of octaves where they are considered appropriate. There are some variants as to how the movement closes.
The movement is composed in the style of a barcarola or barcarolle which originates as a Venetian gondolier's song and features a 6/8 time signature combined with gently rocking rhythmic shapes. Close
Added: 15th October, 2022 09:10 AM |
Views : 1229
Handel’s Let me cry (Lascia ch’io pianga ) from the opera Rinaldo in an intermediate level arrangement for organ and piano. The aria or song is ta Show More...
Handel’s Let me cry (Lascia ch’io pianga ) from the opera Rinaldo in an intermediate level arrangement for organ 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. 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. Those who enjoy improvising can always record their work can send it as an mp3 to the PlentyMusic office for feedback. 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. 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 makes the observation that instrumental arrangements of a vocal piece are invariably played at a faster tempo. 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: 5th June, 2022 16:06 PM |
Views : 1411
An improver level arrangement of this familiar melody with the left hand playing broken chords Right and left hand fingering are in place. The aim in Show More...
An improver level arrangement of this familiar melody with the left hand playing broken chords Right and left hand fingering are in place. The aim in playing the piece is simply to get both hands playing together independently. Right hand fingering is in place whilst the realisation plays back at 60 dotted quarter note (crotchet) beats to the minute. Don’t be afraid to also practice away from an instrument learning and memorising the patterns of the music and developing the coordinating of the movements between the fingers and hands. This is music that can be played on either a keyboard or piano. Players should be aiming to play the melody legato (smoothly). Close
Added: 23rd May, 2022 10:05 AM |
Views : 1375
A beginner level arrangement of this familiar traditional melody which is an excellent piece for the keyboard player to study. In this version the mel Show More...
A beginner level arrangement of this familiar traditional melody which is an excellent piece for the keyboard player to study. In this version the melody is played by the right hand and the chords by the left hand. The aim in playing the piece is simply to get both hands playing together. Letter names are indicated in the noteheads, right hand fingering is in place and there are graphics to indicate how the chords should be played. The realisation plays back at 60 dotted quarter note (crotchet) beats to the minute. Don’t be afraid to practice away from an instrument learning and memorising the patterns of the music and developing the coordinating of the movements between the fingers and hands. This is music that can be played on either a keyboard or piano. Players should be aiming to play the melody legato (smoothly). Close
Added: 23rd May, 2022 10:05 AM |
Views : 1066
The spirit of the English pastoral tradition is captured perfectly in this movement from Warlock’s Capriol Suite. There are also some beautiful moda Show More...
The spirit of the English pastoral tradition is captured perfectly in this movement from Warlock’s Capriol Suite. There are also some beautiful modal conflicts reflecting the composer’s interest in the music Elizabethan music and particularly that of John Dowland. There are some compromises in the voicing of the lines particularly in the closing section whilst bar 13 requires some careful note reading in the left hand. This is an excellent piece for developing legato playing. It is also a good test piece because a successful performance requires an awareness of the modal conflict that exists in the lines of the music evident in the conflicting accidentals that feature in the score. 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. (44 dotted quarter note (crotchet) beats to the minute. The voice leading at times quite a challenge to follow and for players really interested in understanding the musical elements should refer to the score for string orchestra. 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 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 May, 2022 15:05 PM |
Views : 921
Slovakian Boys’ Dance is the third piece in the collection Ten Easy Pieces dating from 1908 by Béla Bartók. It is an improver level piano piece an Show More...
Slovakian Boys’ Dance is the third piece in the collection Ten Easy Pieces dating from 1908 by Béla Bartók. It is an improver level piano piece and a rhythmic movement with a strong repetitive element. Based on a folk tune it is quite a short piece lasting about 45 seconds. The realisation plays back at 132 quarter note beats to the minute. The score is quite detailed and like much of Bartok’s music pianistic and easier to play than it sounds. This type of movement is excellent for developing a secure piano technique. The composer was interested in folk music and composing music for educational purposes. The Ten Easy Pieces feature pentatonic scales, references to modes, off beat rhythms and ostinati. Close
Added: 10th May, 2022 09:05 AM |
Views : 1301
An intermediate level movement from a Mendelssohn organ sonata. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially Show More...
An intermediate level movement from a Mendelssohn organ sonata. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially a chorale or hymn much in keeping with the chorale of J. S. Bach although Mendelssohn’s harmonic language is chromatic rather than diatonic. There is more than a suggestion that the composer was well schooled in the disciplines of counterpoint and harmony. There is opportunity to slow down and pause at the ends of phrases although there is only one such marking in the sheet music score. Playing chorale arrangements like this are excellent for developing ensemble playing and good intonation. A generally quiet movement, clarinet players should be aiming for a legato in their playing. The video score/ realisation plays back at 76 quarter note beats to the minute. Mendelssohn was an extremely popular composer in England. Described as a romantic composer he leans more to the classical line of the tradition along with composers Schubert (1797 – 1828) Chopin (1810 – 1849) and Brahms (1833- 1897) rather than the more radical represented by Berlioz (1803 – 1869), Liszt (1811 – 1886), and Wagner (1813-1883). Schumann (1810 - 1856) is the composer who interestingly links the two threads. Close
Added: 27th April, 2022 18:04 PM |
Views : 1033
J. Rheinberger’s #Cantilene from his Organ Sonata No.11 for organ is a late 19th work which can be understood to be updated version of a Bach choral Show More...
J. Rheinberger’s #Cantilene from his Organ Sonata No.11 for organ is a late 19th work which can be understood to be updated version of a Bach chorale harmonisation with the influence of Brahms in respect to the chromatic harmony. 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 actually very untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Organists 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. 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 needs to be played with a legato whilst the bass line is played with a detached or staccato touch. 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 accompaniments. Close
Added: 1st April, 2022 14:04 PM |
Views : 954
The Spanish composer Manuel de Falla composed his Canción in 1900. An intermediate level piano solo - it is a jewel of the 20th century Spanish piano Show More...
The Spanish composer Manuel de Falla composed his Canción in 1900. An intermediate level piano solo - it is a jewel of the 20th century Spanish piano repertoire. Canción is composition for piano in triple time dating from 1900. The opening bars are quite reminiscent of Satie’s music. In a very short space of time the composer takes the player on a simply amazing harmonic and musical journey. Manuel de Falla is widely considered to be the greatest 20th century Spanish composer. The piece is an exploration of a melody in different modalities, textures and styles. The use of the sustaining pedal is indicated in the opening bars of the sheet music score and then the pattern is continued. Pianists should be aiming for a legato touch and there are some subtle changes of tempo to manage particularly at the end of phrases. The Animando e cresc section should be started at the beginning of bar 21. Close
Added: 11th March, 2022 18:03 PM |
Views : 1423
Gnoissienne No. 1 an intermediate level piano solo dating from 1890 and was composed by Erik Satie one of the most eccentric and individual composers Show More...
Gnoissienne No. 1 an intermediate level piano solo dating from 1890 and was composed by Erik Satie one of the most eccentric and individual composers in the history of music. The movement is frequently associated with images particularly in video documentaries that convey sadness and melancholy. Satie’s sound world is both individual and characteristic. There is a strong repetitive element whilst the timeless element is also an additional feature. Satie was a composer who experimented with form, rhythm and both chordal structures and sounds. A miniaturist his music connects with many because his sound world retains great contemporary appeal. The first 3 Gnoissiennes were published in 1893 and do not have time signatures or bar lines and are described as being in free time. The score available from PlentyMusic has this and an additional appended score which does have the time signature and bar lines in place. Bar lines are so easy on the eye and the music editor suggests should never be totally ignored. The playback tempo is 110 quarter note beats to the minute suggesting a more Moderato tempo than Lento. Understand that music tempi in general have quickened in the last 100 years. The use of the sustaining pedal is recommended but not indicated in the sheet music score. Saties’s Gnoissienne are similar to the Gymnopedie’s in style and concept and musical language. Satie lived in Paris and there are some fascinating commentaries about his daily life and work routines which involved walking from his apartment in Accueil to Paris particularly to Montmartre and after WW1 to Montparnasse. They are well worth exploring particularly as they give insight to his approach to life and composition. When he died much of his music was rediscovered simply because it was buried in a piano below a piano. Work this one if you can or research more. He is a quite extraordinary composer who more than 100 years after his death remains even more extraordinary and certainly suggests he lived well before his time. Possibly in more recent times he would be described as being somebody with OCD (obsessive compulsive disorder) although that is a diagnosis for a psychologist rather than a music editor. Satie’s music translates well into other idioms such as jazz. He remains a composer who whose music should be explored by all musicians. Close
Added: 11th March, 2022 18:03 PM |
Views : 1308
An intermediate level arrangement from PlentyMusic for organ of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini.
Show More...
An intermediate level arrangement from PlentyMusic for organ of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini.
This is a 4 part arrangement or music originally conceived for 3 voices. Giardini’s string trio’s are beautifully crafted works and need to be re-discovered and played. The tempo marking in the sheet music score is Adagio whilst the video score plays back at 44 dotted quarter (crotchet) notes to the minute.
Trills begin on the note and have been notated in full in the video score. This area of performance practice is one that encourages debate and if instrumentalists have an alternative please do send the PlentyMusic Office an mp3 recording of a performance or rehearsal or even a notated version.
The siciliana, siciliano or sicilienne is a slow dance with a lilting rhythm in three time which can be described as a slow jig and features quite strongly in baroque music and in many works since. Such music is often in the minor key, pastoral in character with dotted rhythms frequently prevailing. Its origins are possibly Sicilian because of its association with the Sicilian born Alessandro Scarlatti but more likely to the madrigals of the Italian renaissance.
Giardini’s music is familiar to those who sing hymns as the tune Moscow was composed by him. Giardini 1716 – 1796 Italian by birth, was a violinist and composer, who toured widely in Europe settling in England and becoming an orchestra leader of the Italian Opera in London and director of the orchestra at the London Pantheon. He worked closely with his friend and colleague J. C. Bach, familiarly referred to as the the London Bach. For a 15 year period from the mid 1750’s Giardini was considered to be one of the very best performing artists of his time.
As a composer his chamber music, particularly his string trios, are best known and his compositional style combines style galant with the classicism of J. C. Bach and the Mannheim school associated with Stamitz. This so called pre-classical period in music is a fascinating period to study because of the great diversity in music across the main cities of Europe. After leaving England in 1784 for Naples his career faltered due mainly to changes in secure financial circumstances. Close
Added: 11th March, 2022 14:03 PM |
Views : 1759
Spanish Dance No. 5 by E. Granados from PlentyMusic for solo piano. This popular and appealing intermediate level movement dates from 1890 and its use Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic for solo piano. This popular and appealing intermediate level movement dates from 1890 and its use of the phyrgian 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 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. Pianists should explore the ensemble arrangements of this work available on the PlentyMusic website. 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: 17th February, 2022 13:02 PM |
Views : 1270
In this arrangement for organ from PlentyMusic Gounod’s melody is played on the pedals whilst the hands play Bach’s Prelude in C with the addition Show More...
In this arrangement for organ from PlentyMusic Gounod’s melody is played on the pedals whilst the hands play Bach’s Prelude in C with the additional bar (29) and a repeat of the first 4 bars. 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. The challenge for the organist is to play the melody in a singing or legato style suggesting a secure pedal technique. The realisation plays back at 68 quarter note (crotchet) beats to the minute. The music editor also suggests that it might be appropriate to play the double dotted notes on the pedals in bars 10 and 12 as dotted notes particularly on slow tracker action instruments. For the pianist playing the organ this is probably the most suitable arrangement to learn and play. the accompaniment needs to be played in an even and as rhythmically controlled way as possible. 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. 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 suitable as concert music. As this movement is so familiar to the listening audience performers cannot afford to even go near a mistake rather than actually make one! Close
Added: 3rd December, 2021 13:12 PM |
Views : 1698
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This arrangement from PlentyMusic for organ is part Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This arrangement from PlentyMusic for organ is part of the “Encouraging pianists to become occasional organists” collection. 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. The pedal notes which are intended to be added when the movement can be played on the manuals and are indicated (apart from the final Bb) in the bass clef with their stems pointing downwards. Whilst the melody and accompaniment does sound very on the ear and suggest 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. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. Once a section is played through once logic suggests that it will be easier to play when repeated although this does not always seem to be the case. Young musicians in particular 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 have been written out in the video score but are indicated with symbols in the sheet music scores available as pdf download from PlentyMusic. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of the short essentially ornamental notes can be added later. When a movement involves reducing the score, as is the case in this arrangement, it means that some aspects of the music score are omitted. It is worth studying the full vocal score which may clarify some of the challenges that need to be addressed by the arranger The approach for the keyboard player should be to keep the melody wherever possible and when appropriate rhythmically independent of the triplet figuration of the accompaniment. Close
Added: 2nd November, 2021 17:11 PM |
Views : 1885
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level piano arrangement from Plen Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level piano arrangement from PlentyMusic is available as a pdf download. The song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Many performances that are sung 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 suggest that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's AveMaria 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 best to learn the movement with an awareness of an eighth note or quaver pulse triplet figuration geatured in the accompaniment. 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. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. Logic suggests that playing a repeat should be easier to although this not always seem to be the case. Young musicians in particular 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 have been written out in the video score but are indicated with symbols in the sheet music scores available as pdf download from PlentyMusic. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of the short essentially ornamental notes can be added later. Pianists who want to explore and be challenged furthermore can look at Liszt’s arrangement of Schubert’s work. When a movement involves reducing the score, as is the case in this arrangement, it means that some aspects of the music score are omitted. It is worth studying the full vocal score which may clarify some of the challenges that need to be addressed by the arranger The approach for the keyboard player should be to keep the melody wherever possible and when appropriate rhythmically independent of the triplet figuration of the accompaniment. Close
Added: 2nd November, 2021 11:11 AM |
Views : 2102
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. This arrangement/transcription for solo piano is in the original key of Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. This arrangement/transcription for solo piano is in the original key of E minor. 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 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! 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 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. Close
Added: 8th October, 2021 17:10 PM |
Views : 1403
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. This arrangement for solo piano is a transposition of the work to the k Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. This arrangement for solo piano is a transposition of the work to the key of A minor (up a perfect fourth from the original key of Em). The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music. The playback tempo is 84bpm. 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! 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 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. Close
Added: 8th October, 2021 17:10 PM |
Views : 1479
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. This arrangement for solo piano is a transposition of the work to the k Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. This arrangement for solo piano is a transposition of the work to the key of G minor (up a minor third from the original key of Em). The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music. The playback tempo is 84bpm. 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! 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 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. Close
Added: 8th October, 2021 17:10 PM |
Views : 1604
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for solo piano with the music t Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for solo piano with the music transposed to the key of A minor. 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. 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. Close
Added: 31st August, 2021 09:08 AM |
Views : 1521
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this plai score version for solo piano is available as a free score Show More...
The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this plai score version for solo piano is available as a free score from PlentyMusic as a pdf download. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. It is an excellent performance piece. The 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. 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. Piano pedalling has not been indicated in the music score although its use is appropriate particularly in the trio section. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. Pianists would be well advised to approach the playing of the two movements with a lightness in their hands. 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 notes in bar (acciaccaturas or crushed notes) do not sound in the realisation in bar 41. This an excellent movement for developing the playing of a range of different articulations. Pianists and keyboard 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. Phrasing can be very much determined by the choice of fingering with regular 8 bar phrases predominantly feature. 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. Both a plain score and an edited music score are available from PlentyMusic. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Close
Added: 5th August, 2021 08:08 AM |
Views : 1756
Bartok's approach to much of his piano writing is that he considers it as a percussion instrument. Much of his music sounds challenging but often it Show More...
Bartok's approach to much of his piano writing is that he considers it as a percussion instrument. Much of his music sounds challenging but often it is quite playable. The challenge is more on the musical ear and technique rather than the musical content. It is a case of the listener being challenged. The score detail is a strong element in the sheet music copy. Bartok’s music scores do require careful study. The melodic shapes and patterns in this movements are strong and repetitive and the rhythmic element music is particularly strong. He was a great experimenter with sounds and in that he has much in common with Stravinsky. Bartok is one of the best 20th century composers to study because he is excellent at preparing the ear’s of a musician for modern sounds. Bartok’s music does possess great symmetry and his music does identify with the tonal tradition. His music might not sound tonal at times but the functionality in all sense and purpose is tonal. Bartok’s music is often derived from the rhythms and sounds of folk melodies he heard as a child and adult. The music editor suggests that this is an excellent performance piece for aspiring musicians. Close
Added: 20th July, 2021 12:07 PM |
Views : 1404
The music of J. L. Dussek is well worth discovering and playing. His Opus 20 Sonatinas are brimming with invention and musical interest and are perfec Show More...
The music of J. L. Dussek is well worth discovering and playing. His Opus 20 Sonatinas are brimming with invention and musical interest and are perfect for developing a secure technique on a piano. This is music that both expresses and possesses the joy of its time. A rondo is a movement with a recurring theme. The repeats do not playback in the realisation. Music that has design and clear direction that is essentially pianistic. Musical ideas need to be clearly articulated without necessarily being exaggerated. The realisation plays back at a tempo of 72 dotted quarter note (crotchet) beats to the minute. Many of the early published scores of this movement have score detail that possibly is more suitable for the dry acoustic of earlier wooden framed pianos. Pianists may wish to add their own additional score detail particularly in respect to the note articulations but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent or tenuto marking but this aspect of performance is secondary to the requirement for secure fingering as encourages secure technique. Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement suggests that this is more romantic than classical music. Dusssek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score and an edited music score with suggested fingering is available from PlentyMusic for one credit. In the edited music score the suggested fingering is notated above the note for the right hand and below the note for the left hand. Look out for the changing finger on a note which currently cannot be represented as clearly as the music editor intends. Bar 10 and 61 should logically contain the same music but they don’t. Players may well want to consider how they approach these two bars. A possible error in the score but by whom? The copyist, the engraver(s) or even the composer? It’s a much better question than you imagine because music printing of the distant past had so many inconsistencies. The music editor’s view is simply that many composers just did not have time to proof read the printer’s copy. Close
Added: 16th July, 2021 10:07 AM |
Views : 1500
Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. His Opu Show More...
Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. His Opus 20 Sonatinas are well worth exploring. A purposeful and dynamic intermediate level movement for solo piano. The repeats do not playback in the realisation. Clarity in the articulation of the music achieved by shortening some of the notes and an increasing the dynamics. Smorzando translates as dying away. The realisation plays back at 116 quarter note (crotchet) beats to the minute and Allegro is the indicated tempo marking in the sheet music score. Whilst musical ideas need to be clearly articulated there should not be exaggeration in the playing. There is opportunity to practice crossing over of hands. Many of the early published scores of this movement have score detail that possibly is more suitable for the dry acoustic of earlier wooden framed pianos. Pianists may wish to add their own additional score detail particularly in respect to the articulation of notes but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent or tenuto marking but not too many! Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement does suggest more romantic than classical music. Dussek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score whilst the edited music score is available for one credit. Close
Added: 16th July, 2021 10:07 AM |
Views : 1578
The music of J. L. Dussek is well worth discovering and playing. His Opus 20 Sonatinas are brimming with invention and musical interest and are perfec Show More...
The music of J. L. Dussek is well worth discovering and playing. His Opus 20 Sonatinas are brimming with invention and musical interest and are perfect for developing a secure technique on a piano. This is music that both expresses and possesses the joy of its time. A rondo is a movement with a recurring theme. The repeats do not playback in the realisation. Music that has design and clear direction that is essentially pianistic. Musical ideas need to be clearly articulated without necessarily being exaggerated. The realisation plays back at a tempo of 72 dotted quarter note (crotchet) beats to the minute. Many of the early published scores of this movement have score detail that possibly is more suitable for the dry acoustic of earlier wooden framed pianos. Pianists may wish to add their own additional score detail particularly in respect to the note articulations but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent or tenuto marking but this aspect of performance is secondary to the requirement for secure fingering as encourages secure technique. Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement suggests that this is more romantic than classical music. Dusssek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score and an edited music score with suggested fingering is available from PlentyMusic for one credit. In the edited music score the suggested fingering is notated above the note for the right hand and below the note for the left hand. Look out for the changing finger on a note which currently cannot be represented as clearly as the music editor intends. Bar 10 and 61 should logically contain the same music but they don’t. Players may well want to consider how they approach these two bars. A possible error in the score but by whom? The copyist, the engraver(s) or even the composer? It’s a much better question than you imagine because music printing of the distant past had so many inconsistencies. The music editor’s view is simply that many composers just did not have time to proof read the printer’s copy. Close
Added: 16th July, 2021 08:07 AM |
Views : 1511
Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. His Opu Show More...
Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. His Opus 20 Sonatinas are well worth exploring. A purposeful and dynamic intermediate level movement for solo piano. The repeats do not playback in the realisation. Clarity in the articulation of the music achieved by shortening some of the notes and an increasing the dynamics. Smorzando translates as dying away. The realisation plays back at 116 quarter note (crotchet) beats to the minute and Allegro is the indicated tempo marking in the sheet music score. Whilst musical ideas need to be clearly articulated there should not be exaggeration in the playing. There is opportunity to practice crossing over of hands. Many of the early published scores of this movement have score detail that possibly is more suitable for the dry acoustic of earlier wooden framed pianos. Pianists may wish to add their own additional score detail particularly in respect to the articulation of notes but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent or tenuto marking but not too many! Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement does suggest more romantic than classical music. Dussek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score whilst the edited music score is available for one credit. Close
Added: 16th July, 2021 07:07 AM |
Views : 1649
The movement is an improver level work and excellent for developing a secure and reliable keyboard technique. Dussek a Czech composer contributed much Show More...
The movement is an improver level work and excellent for developing a secure and reliable keyboard technique. Dussek a Czech composer contributed much fine music to the piano repertoire. This short movement is described as a rondo in the tempo of a minuet. The first and last main sections are in G major whilst the middle section is in the tonic minor: G minor. A tempo of 50 dotted quarter notes (crotchet) beats to the minute is used in the realisation. Allegretto would be the most appropriate tempo marking. The articulation markings familiar in older editions of this movement frequently include staccato, tenuto and accents in their score detail. Understanding that the thinner toned pianos of earlier times possibly required more exaggerated playing to communicate the musical ideas. The music editor prefers a more minimalist approach as far as indicating score detail particularly in respect to note articulations. The best advice is always to mark your own music copy of the score from knowledge of playing the music score, listening to performances and possibly from a music lesson or two. Generally, in music of this style and period it is a legato keyboard touch that should be encouraged. Exaggerated playing particularly on modern instruments should be avoided. Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is the practice in modern piano recitals. The chromaticism in this movement does suggest a more romantic approach than classical. Dusssek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed much fine music for the harp.The plain score is available as a free score from PlentyMusic whilst an edited music score is available for 1 credit from PlentyMusic. Close
Added: 13th July, 2021 15:07 PM |
Views : 1409
The movement is an improver level work and excellent for developing a secure and reliable keyboard technique. Dussek a Czech composer contributed much Show More...
The movement is an improver level work and excellent for developing a secure and reliable keyboard technique. Dussek a Czech composer contributed much fine music to the piano repertoire. This short movement is described as a rondo in the tempo of a minuet. The first and last main sections are in G major whilst the middle section is in the tonic minor: G minor. A tempo of 50 dotted quarter notes (crotchet) beats to the minute is used in the realisation. Allegretto would be the most appropriate tempo marking. The articulation markings familiar in older editions of this movement frequently include staccato, tenuto and accents in their score detail. Understanding that the thinner toned pianos of earlier times possibly required more exaggerated playing to communicate the musical ideas. The music editor prefers a more minimalist approach as far as indicating score detail particularly in respect to note articulations. The best advice is always to mark your own music copy of the score from knowledge of playing the music score, listening to performances and possibly from a music lesson or two. Generally, in music of this style and period it is a legato keyboard touch that should be encouraged. Exaggerated playing particularly on modern instruments should be avoided. Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is the practice in modern piano recitals. The chromaticism in this movement does suggest a more romantic approach than classical. Dusssek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed much fine music for the harp.The plain score is available as a free score from PlentyMusic whilst an edited music score is available for 1 credit from PlentyMusic. Close
Added: 13th July, 2021 15:07 PM |
Views : 1883
The music editor suggests that this is a great movement to clarify where someone is with their #piano playing. Dussek a Czech composer contributed mu Show More...
The music editor suggests that this is a great movement to clarify where someone is with their #piano playing. Dussek a Czech composer contributed much fine music to both the piano and harp repertoire. The movement needs to be played with a lightness in the hands and fingers. It is a good test of evaluating both technique and musical understanding/comprehension not that one always wants to do this by a formal examination. The musical ideas do need to be articulated with clarity and some notes are shorter than others and some phrases need to be emphasised more than others. Some use of the sustaining pedal is suggested although pedal markings are not indicated in the sheet music score. This is music from a time when musical ideas need to be articulated without necessarily being exaggerated which is an element often suggested in edited copies of the score. Many of the early published scores of this movement have score detail that possibly is more appropriate for the dry acoustic of an earlier wooden framed pianos.
Pianists may wish to add their own score detail particularly in respect to the articulation of notes but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent, a tenuto marking or possibly phrase markings but the first focus needs to be establishing secure fingering to enable the development of a fine legato when playing the piano. Music editing is very much a continuing process. Keyboard players should continually review their performances reviewing the score detail whether it be the choice of fingering, phrase markings or note articulations. Dussek was a Czech composer and like Beethoven a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement does suggest a more romantic context than a classical one. Dussek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score whilst an edited music score is available from PlentyMusic for one credit. Close
Added: 13th July, 2021 15:07 PM |
Views : 1785
The music editor suggests that this is a great movement to clarify where someone is with their #piano playing. Dussek a Czech composer contributed mu Show More...
The music editor suggests that this is a great movement to clarify where someone is with their #piano playing. Dussek a Czech composer contributed much fine music to both the piano and harp repertoire.
The movement needs to be played with a lightness in the hands and fingers. It is a good test of evaluating both technique and musical understanding/comprehension not that one always wants to do this by a formal examination. The musical ideas do need to be articulated with clarity and some notes are shorter than others and some phrases need to be emphasised more than others. Some use of the sustaining pedal is suggested although pedal markings are not indicated in the sheet music score. This is music from a time when musical ideas need to be articulated without necessarily being exaggerated which is an element often suggested in edited copies of the score. Many of the early published scores of this movement have score detail that possibly is more appropriate for the dry acoustic of an earlier wooden framed pianos.
Pianists may wish to add their own score detail particularly in respect to the articulation of notes but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent, a tenuto marking or possibly phrase markings but the first focus needs to be establishing secure fingering to enable the development of a fine legato when playing the piano. Music editing is very much a continuing process. Keyboard players should continually review their performances reviewing the score detail whether it be the choice of fingering, phrase markings or note articulations. Dussek was a Czech composer and like Beethoven a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement does suggest a more romantic context than a classical one. Dussek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score whilst an edited music score is available from PlentyMusic for one credit. Close
Added: 13th July, 2021 14:07 PM |
Views : 1909
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 also many arrangements to be discovered on the PlentyMusic website for different combinations of instruments. 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. 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. Close
Added: 5th July, 2021 13:07 PM |
Views : 2080
Debussy’s two piano arrangement of Schumann’s original version for pedal piano. The pedal piano was an instrument used by organists as a practice Show More...
Debussy’s two piano arrangement of Schumann’s original version for pedal piano. The pedal piano was an instrument used by organists as a practice instrument. A quite vivid movement although one isn’t sure what Schumann’s original intention is endeavouring to describe although from the music view a march pattern is suggested both by the time signature and the musical ideas. The two piano version has a playback tempo of 104 quarter note (crotchet) beats to the minute. The tempo direction in the score is to play the movement “Not too fast.” A canon arises in the description of a musical piece simply because musical ideas are imitated by another voice or instrument. It doesn’t necessarily describe the overall form or structure of a piece. The Study in Canon No.5 is in three sections ABA’ with Section B beginning at bar 37 and the varied repeat of A at bar 83. Understand that the canonic element in Schumann’s time references all the musical elements and not just pitch: dynamics, articulation, ornamentation are all part of the canonic process. The crushed notes or acciaccaturas are a prominent musical feature. This is essentially a study in the articulation of short notes and occasional longer notes. Compositional process is evident from bar 49 where the canonic element involves inversion. This is a challenging music setting to engrave and prepare for print mainly because the score has so much detail which is not easy to represent with clarity on the sheet music page. Accompaniments are available featuring the Piano 1 sounding on one side of the stereo channel and Piano 2 on the other. They play at 92, 96, 100 and 104 quarter note (crotchet) beats to the minute enabling the pianists to incorporate ensemble practice as part of their routine. Close
Added: 3rd June, 2021 12:06 PM |
Views : 1751
The piano duet or music for piano 4 hands version has a playback tempo of 100 quarter note (crotchet) beats to the minute. A canon arises in the descr Show More...
The piano duet or music for piano 4 hands version has a playback tempo of 100 quarter note (crotchet) beats to the minute. A canon arises in the description of a musical piece simply because musical ideas are imitated by another voice or instrument. It doesn’t necessarily describe the overall form or structure of a piece. The Study in Canon No. 5 is in three sections ABA’ with Section B beginning at bar 37 and the varied repeat of A at bar 83. Understand that the canonic element in Schumann’s time references all the musical elements and not just pitch: dynamics, articulation, ornamentation are all part of the canonic process. The crushed notes or acciaccaturas are a prominent musical feature. This is essentially a study in the articulation of short notes and occasional longer notes. Compositional process is evident from bar 49 where the canonic element involves inversion. This is a challenging music setting to engrave and prepare for print mainly because the score has so much detail which is not easy to represent with clarity on the sheet music page. Accompaniments are available featuring the primo part sounding on one side of the stereo channel and the secondo on the other. They play at 92, 96, 100 and 104 quarter note (crotchet) beats to the minute enabling the pianists to incorporate ensemble practice as part of their routine. Close
Added: 3rd June, 2021 12:06 PM |
Views : 1771
Robert Schumann’s Study in Canon No. 5 from his Opus 56 collection is a challenging movement to play and interpret. Whilst the music is quite vivid, Show More...
Robert Schumann’s Study in Canon No. 5 from his Opus 56 collection is a challenging movement to play and interpret. Whilst the music is quite vivid, the context is unclear in what is structurally a ternary form movement. The organ version has a playback tempo of 96 quarter note (crotchet) beats to the to the minute. The tempo direction in the score is to play the movement “Not too fast.” A canon arises in the description of a musical piece simply because musical ideas are imitated by another voice or instrument. It doesn’t necessarily describe the overall form or structure of a piece. The Study in Canon No. 5 is in three sections ABA’ with Section B beginning at bar 37 and the varied repeat of A at bar 83. The canonic element in Schumann’s time references all the musical elements and not just pitch: dynamics, articulation, ornamentation are all part of the canonic process. The crushed notes or acciaccaturas are a prominent musical feature. This is essentially a study in the articulation of short notes and occasional longer notes. Compositional process is evident from bar 49 where the canonic element involves inversion. There are some limitations regarding the range and choice of organ sounds in the realisation. Players should listen to performances on actual instruments available on streaming media. Close
Added: 3rd June, 2021 12:06 PM |
Views : 1657
A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in this work composed at a time that Schumann was Show More...
A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in this work composed at a time that Schumann was intent on restoring rigour and contrapuntal discipline in his compositional approach. Whilst this music references the past there is a romantic twist or two in the harmonic language. A tempo of 76 quarter note (crotchet) beats to the minute is used in the realisation. Trills begin on the note and have been written out in the video score. Understand that the melodic and rhythmic shapes of the ornaments are constant throughout the whole movement. Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently many other arrangements have been created. The two piano parts piano 1 and piano 2 can be also be downloaded as an mp3 accompaniment enabling players to enjoy an ensemble music experience playing either the piano 1 or piano 2. Piano 1 sounds on one side of the stereo channel and piano 2 part on the other. The accompaniments play at 64, 68, 72,76 and 80 quarter note (crotchet) beats to the minute. There is a 2 bar click beat before the music starts playing. When performing printing two pages of music onto one side of A4 offers a practical solution for players. Close
Added: 11th May, 2021 07:05 AM |
Views : 2032
The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it Show More...
The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it has been described as a reduction of an Italian symphony and is contemporary with his opera Lucio Silla K.135 composed when he was aged 16. The First Movement: Allegro is typically Mozartian both in spirit and musical content. The realisation plays back at 144 quarter note (crotchet) beats to the minute. It is a very purposeful movement requiring light hands which is perhaps a musical element difficult to suggest in a realisation. The repeats although marked in the score are not played. There is plenty of opportunity for players to fine tune their playing of legato and staccato touches and to develop tremolo playing. The music editor favours a dry acoustic in recordings enabling clarity in the communication of the music. Accompaniments in mp3 format recorded at 256kbps which have a 4 bar count in are available at 120, 132 and 144 quarter note (crotchet) beats to the minute. For those needing more information on how to play the ornaments refer to the video score on our YouTube channel where the ornaments have been written out to give clarity to what is a confusing area. When learning a movement it is often best to omit the ornamentation in the first instance. Close
Added: 18th April, 2021 11:04 AM |
Views : 2110
A slow movement in the subdominant key of G requiring a legato piano touch with some occasional staccato articulations which are indicated in the musi Show More...
A slow movement in the subdominant key of G requiring a legato piano touch with some occasional staccato articulations which are indicated in the music score. There is a some lovely sharing of the melodic material between the primo and secondo parts in this quite beautiful classical movement. A beautifully balanced movement from the point of view of musical texture. It is a two section AB binary movement although the repeats are not played in the realisation. Performers may wish to review the articulations suggested and if changes are made they do need to be made consistently and be in keeping with the style. Accompaniments are available at 52, 54, 56, 58, and 60 quarter note beats to the minute. There is a two bar count in, featuring the sound of the woodblock, with the first bar in eighth notes (quavers) and the second bar in quarter notes (crotchets). For those needing more information on how to play the ornaments refer to the video score on our YouTube channel where they have been written out to give clarity to what is often a confusing area. When learning a movement it is often best to omit the ornamentation in the first instance. Close
Added: 17th April, 2021 08:04 AM |
Views : 2186
The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it Show More...
The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it has been described as a reduction of an Italian symphony and is contemporary with his opera Lucio Silla K.135 composed when he was aged 16. The First Movement: Allegro is typically Mozartian both in spirit and musical content. The realisation plays back at 144 quarter note (crotchet) beats to the minute. It is a very purposeful movement requiring light hands which is perhaps a musical element difficult to suggest in a realisation. The repeats although marked in the score are not played. There is plenty of opportunity for players to fine tune their playing of legato and staccato touches and to develop tremolo playing. The music editor favours a dry acoustic in recordings enabling clarity in the communication of the music. Accompaniments in mp3 format recorded at 256kbps which have a 4 bar count in are available at 120, 132, 138 and 144 quarter note (crotchet) beats to the minute. For those needing more information on how to play the ornaments refer to the video score on our YouTube channel where the ornaments have been written out to give clarity to what is a confusing area. When learning a movement it is often best to omit the ornamentation in the first instance. Close
Added: 17th April, 2021 08:04 AM |
Views : 2415
The Debussy arrangements of Schumann’s Studies in Canon for Two Pianos are an exploration of Schumann’s original music from both the spatial and Show More...
The Debussy arrangements of Schumann’s Studies in Canon for Two Pianos are an exploration of Schumann’s original music from both the spatial and textural point of view. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in its style and reminiscent of Bach’s 4 part chorale writing although with chromatic harmony of Schumann’s own time. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 returns to the mood and style of the first section although this section has both more contrast and drama. Schumann’s intention is to combine beauty of sound with a legato touch and it is important for pianists to aim for the best legato possible in their playing. The realisation plays back at 60 quarter note beats to the minute with the tempo marked as adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on out PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills in this time begin on the note. The final chord should be spread evenly from the lowest to the highest sound. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling pianists to explore and develop their ensemble skills. The piano 1 part sounds on one side of the stereo channel and piano 2 on the other. There are four accompaniments available in the tempo range from 58 to 64 quarter beats to the minute. Close
Added: 13th April, 2021 10:04 AM |
Views : 1718
The piano duet arrangement of Schumann’s Studies in Canon by Bizet are hidden treasures in the repertoire. Bizet’s exploration of Schumann’s mus Show More...
The piano duet arrangement of Schumann’s Studies in Canon by Bizet are hidden treasures in the repertoire. Bizet’s exploration of Schumann’s music adds to the composer’s original intention by exploring the musical texture in a broader musical space. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in its style and certainly in the first instance reminiscent of Bach’s 4 part chorale writing although with romantic chromatic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. Schumann’s original intention is to combine beauty of sound with a legato touch and it is important for pianists to aim for the best legato possible in their playing. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. The final chord should be spread evenly from the lowest to the highest sound. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Do explore the solo piano, piano duet, two piano and trio versions available on the PlentyMusic website. Accompaniments are also available enabling pianists to explore and develop their ensemble skills. The primo part sounds on one side of the stereo channel and the secondo part on the other. There are four accompaniments available in the tempo range from 58 to 64 quarter beats to the minute. Close
Added: 13th April, 2021 06:04 AM |
Views : 1191
This quiet slow movement in reflective mood with a compositional approach that is vocal in its style and reminiscent of Bach’s 4 part chorale writin Show More...
This quiet slow movement in reflective mood with a compositional approach that is vocal in its style and reminiscent of Bach’s 4 part chorale writing although presented with romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. Schumann’s intention is to combine beauty of sound with a legato touch and it is important for pianists to aim for the best legato possible in their playing. The realisation plays back at 56 quarter note beats to the minute with the tempo is marked adagio in the score. The challenge playing the piano version is simply managing the musical lines and imitation embraced in the texture. The music editor suggests playing through the separate lines of the score to gain understanding of the compositional process and points of imitation. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. The final chord should be spread evenly from the lowest to the highest sound. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. It is quite understandable that other composers and arrangers have re-visited the Studies in Canon by Schumann, in a practical way, with arrangements for various instrument combinations. These arrangements encourage a clearer understanding of the contrapuntal aspects of the original composer’s writing. Do explore the organ, piano duet, two piano and trio versions available on the PlentyMusic website. Close
Added: 13th April, 2021 06:04 AM |
Views : 2336
This quiet slow movement in reflective mood is vocal in its style and reminiscent of Bach’s 4 part chorale writing although featuring chromatic harm Show More...
This quiet slow movement in reflective mood is vocal in its style and reminiscent of Bach’s 4 part chorale writing although featuring chromatic harmony associated with the romantic era. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The first section is essentially a 4 part chorale featuring romantic chromatic harmony from Schumann’s own time rather than the diatonic harmony of Bach’s time. The second middle section is presented as a fugal exposition whilst the final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. Schumann’s intention is to combine beauty of sound with a legato touch and it is important for organists to aim for the best legato possible in their playing. The realisation plays back at 60 quarter note beats to the minute with the tempo indication in the score marked as adagio. This is an absorbing and challenging movement to with a particular challenge being to communicate the imitation that is evident in the music score. The music editor suggests playing through the separate lines of the score to gain understanding of the compositional process and points of imitation. This is also a challenging movement from the music reading point of view because of the chromaticism and tied notes and playing at a slow tempo. In the organ realisation two organ sounds have been used. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. In the organ arrangement there is the possibility of adding an additional trill on the G# in bar 31. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce players to chamber music playing. It is quite understandable that other composers and arrangers have re-visited the Studies in Canon by Schumann, in a practical way, with arrangements for various instrument combinations. These arrangements encourage a clearer understanding of the contrapuntal aspects of the original composer’s writing. Explore the solo piano, piano duet, two piano and trio versions available on the PlentyMusic website. Close
Added: 13th April, 2021 06:04 AM |
Views : 2073
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 are typically found as the lasts movements 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 in this category. 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 his compositions and a well-documented and renowned performance history. Close
Added: 26th January, 2021 11:01 AM |
Views : 2106
Technical Drill Right Hand Thirds:
The letter names of the notes can be seen in the note heads which will useful in learning the note positions in Show More...
Technical Drill Right Hand Thirds:
The letter names of the notes can be seen in the note heads which will useful in learning the note positions in this chromatic exercise.
Why practice thirds?
To strengthen the fingers - particularly the weaker 4th and 5th fingers.
Practicing thirds is a very good way to develop legato playing.
Thirds have a context in performance pieces and musical composition in general.
Tips:
Keep the fingers near to the keys.
Understand:
Imagine the weight of the hand goes downwards through the fingers and to the keys.
How to practice:
The play back tempo is 100 quarter notes beats to the minute but do not be afraid to start at a slower tempo.
Play the right hand and left hand separately starting in different octave ranges of the keyboard or piano
If the fingers and hands get tense - stop! Relax the hands and arms by your side and start again.
Aim for legato playing (smooth - no gaps) and keep to the specified fingering.
Remember:
that for both the left hand and right hand fingering is the same in piano playing
thumb = 1, index = 2, middle = 3, ring = 4 and 5 = the little finger
Further Study:
When you are confident with what you extend the exercise and give more work to the weaker fingers.
Develop some rhythmic variants of the patterns.
You can always record and send them as an an mp3 to PlentyMusic and these can perhaps be shared.
Listen:
Composers such as Chopin, Debussy, Rachmaninov and Kapustin have explored the intervals of a third in technical studies known as Etudes which exist as important and often challenging repertoire for the pianist. Close
Added: 26th January, 2021 10:01 AM |
Views : 2086
Technical Drill Left Hand Thirds:
The letter names of the notes can be seen in the note heads which will helpful in learning the note positions in Show More...
Technical Drill Left Hand Thirds:
The letter names of the notes can be seen in the note heads which will helpful in learning the note positions in this chromatic exercise.
Why practice thirds?
To strengthen the fingers - particularly the weaker 4th and 5th fingers.
Practicing thirds is a very good way to develop legato playing.
Thirds have a context in performance pieces and musical composition in general.
Tips:
Keep the fingers near to the keys.
Understand:
Imagine the weight of the hand goes downwards through the fingers and to the keys.
How to practice:
The play back tempo is 100 quarter notes beats to the minute but do not be afraid to start at a slower tempo.
Play the right hand and left hand separately starting in different octave ranges of the keyboard or piano.
If the fingers and hands get tense - stop! Relax the hands and arms by your side and start again.
Aim for legato playing (smooth - no gaps) and keep to the specified fingering.
Remember:
that for both the left hand and right hand fingering is the same in piano playing
thumb = 1, index = 2, middle = 3, ring = 4 and 5 = the little finger.
Further Study:
When you are confident with what you extend the exercise and give more work to the weaker fingers.
Develop some rhythmic variants of the patterns.
You can always record and send them as an an mp3 to PlentyMusic and these can perhaps be shared.
Listen:
Composers such as Chopin, Debussy, Rachmaninov and Kapustin have explored the intervals of a third in technical studies known as Etudes which exist as important and often challenging repertoire for the pianist. Close
Added: 26th January, 2021 09:01 AM |
Views : 2147
This is music worthy of attention and an excellent movement for a keyboard player keen to make progress. The music editor often plays it at weddings. Show More...
This is music worthy of attention and an excellent movement for a keyboard player keen to make progress. The music editor often plays it at weddings. The repeating section has been written out simply for clarity as far as reading the music is concerned. In some editions there is a repeat of the opening 12 bar section but in performance this does rather spoil the symmetry of the movement. The music is presented in a plain score format with minimal score detail. Rameau was a leading French composer of both opera and harpsichord music and also known as a music theorist publishing a Treatise on Harmony in 1722. His music was largely out of fashion by the end of the 18th but there is a renewed interest in his music with recent performances and recordings. Interestingly he didn’t start composing opera until he was in his 50’s. He was one of the masters of 18th century French school of harpsichordists, publishing collections in 1706, 1724 and 1727. This particular movement comes from one of the suites from the 1724 collection. Whilst his keyboard music was intended for the harpsichord in more recent times it is frequently performed on the piano and there are transcriptions of movements available for the organ. The music editions available do generally relate to performances on the harpsichord and these generally have ornaments played in both hands which is something not so common in piano music. The rondeau is a form derived from early French poetry which was shared with the chanson (song form) in the medieval and Renaissance times. It features a repeating refrain (or chorus) and something in time that was adopted in both dance and instrumental forms. The form of this particular movement can be represented as ABACADA with A representing the repeating refrain or chorus. The fact that there are different numbers of bars in each of the phrases is most likely a connection to the poetry structure of earlier times. In the organ version which plays back at 96 dotted quarter notes to the minute the repeating refrain section is played on one manual whilst the sections described as episodes are played on a second manual or at least with a different registration. It is suggested that the pedal notes be played on a 16’ stop. Close
Added: 15th January, 2021 09:01 AM |
Views : 2163
This is music worthy of attention and an excellent movement for a keyboard player keen to make progress. The repeating section has been written out si Show More...
This is music worthy of attention and an excellent movement for a keyboard player keen to make progress. The repeating section has been written out simply for clarity as far as reading the music is concerned. In some editions there is a repeat of the opening 12 bar section but in performance this does rather spoil the symmetry of the movement. The music is presented in a plain score format with minimal score detail. Rameau was a leading French composer of both opera and harpsichord music and also known as a music theorist publishing a Treatise on Harmony in 1722. His music was largely out of fashion by the end of the 18th but there is a renewed interest in his music with recent performances and recordings. Interestingly he didn’t start composing opera until he was in his 50’s. He was one of the masters of 18th century French school of harpsichordists, publishing collections in 1706, 1724 and 1727. This particular movement comes from one of the suites from the 1724 collection. Whilst his keyboard music was intended for the harpsichord in more recent times it is frequently performed on the piano and there are transcriptions of movements available for the organ. The music editions available do generally relate to performances on the harpsichord and these generally have ornaments played in both hands which is something not so common in piano music. The rondeau is a form derived from early French poetry which was shared with the chanson (song form) in the medieval and Renaissance times. It features a repeating refrain (or chorus) and something in time that was adopted in both dance and instrumental forms. The form of this particular movement can be represented as ABACADA with A representing the repeating refrain. The fact that there are different numbers of bars in each of the phrases is most likely a connection to the poetry structure of earlier times. The piano version plays back at 96 dotted quarter notes to the minute. There are many recordings of this movement including one or two which are quite free in their interpretation particularly of the repeating refrain section turning it almost into an improvisation. Close
Added: 15th January, 2021 09:01 AM |
Views : 2182
In a performance context the Gigue en rondeau No.1 would be followed by Gigue en rondeau No.2. The two Gigue en rondeau from Rameau’s Suite in E min Show More...
In a performance context the Gigue en rondeau No.1 would be followed by Gigue en rondeau No.2. The two Gigue en rondeau from Rameau’s Suite in E minor from his 1724 collection are excellent movements for a keyboard player to explore. The repeating sections have been written out simply for clarity as far as reading the music is concerned. In some editions there is a repeat of the opening 8 bar section but in a performance this does rather spoils the symmetry of the movement. The music is presented in a plain score format with minimal score detail and ornamentation has been deliberately omitted. Rameau was a leading French composer of both opera and harpsichord music and also known as a music theorist publishing a Treatise on Harmony in 1722. His music was largely out of fashion by the end of the 18th but there is a renewed interest in his music with recent performances and recordings. Interestingly he didn’t start composing opera until he was in his 50’s. He was one of the masters of 18th century French school of harpsichordists, publishing collections in 1706, 1724 and 1727. Whilst his keyboard music was intended for the harpsichord in more recent times it is frequently performed on the piano and there are transcriptions of many movements available for the organ. The music editions available do generally relate to performances on the harpsichord and these generally have ornaments played in both hands which is not something so common in piano music. The rondeau is a form derived from early French poetry which was shared with the chanson (song form) in the medieval and Renaissance times. It features a repeating refrain (or chorus) and something in time that was adopted in both dance and instrumental forms. The form of this particular movement can be represented as ABACA with A representing the repeating refrain or chorus. The organ version plays back at 84 dotted quarter notes to the minute. Close
Added: 15th January, 2021 09:01 AM |
Views : 2254
In a performance context the Gigue en rondeau No.1 would be followed by Gigue en rondeau No.2. The two Gigue en rondeau from Rameau’s Suite in E min Show More...
In a performance context the Gigue en rondeau No.1 would be followed by Gigue en rondeau No.2. The two Gigue en rondeau from Rameau’s Suite in E minor from his 1724 collection are excellent movements for a keyboard player to explore. The repeating sections have been written out simply for clarity as far as reading the music is concerned. In some editions there is a repeat of the opening 8 bar section but in a performance this does rather spoils the symmetry of the movement. The music is presented in a plain score format with minimal score detail and ornamentation has been deliberately omitted. Rameau was a leading French composer of both opera and harpsichord music and also known as a music theorist publishing a Treatise on Harmony in 1722. His music was largely out of fashion by the end of the 18th but there is a renewed interest in his music with recent performances and recordings. Interestingly he didn’t start composing opera until he was in his 50’s. He was one of the masters of 18th century French school of harpsichordists, publishing collections in 1706, 1724 and 1727. Whilst his keyboard music was intended for the harpsichord in more recent times it is frequently performed on the piano and there are transcriptions of many movements available for the organ. The music editions available do generally relate to performances on the harpsichord and these generally have ornaments played in both hands which is not something so common in piano music. The rondeau is a form derived from early French poetry which was shared with the chanson (song form) in the medieval and Renaissance times. It features a repeating refrain (or chorus) and something in time that was adopted in both dance and instrumental forms.
The form of this particular movement can be represented as ABACA with A representing the repeating refrain or chorus. The piano version plays back at 84 dotted quarter notes to the minute. Close
Added: 15th January, 2021 09:01 AM |
Views : 2186
The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso p Show More...
The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments and for those that require clarity on how they should be played refer to the video score on our YouTube channel. The performance practice with this movement the music editor would suggest is at times ambiguous and at best inconsistent. The music editor has avoided suggesting a rit at the end of the movement although in performance this is an option.
The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line.
The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy whilst the piano trio arrangements of Kirchner provide additional repertoire and ensemble opportunities.
There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned.
Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score.
The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 80|100|80 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 76|90|76 quarter (crotchet) note beats to the minute, Accompaniment 3 at 72|84|72 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 68|80|68 quarter (crotchet) note beats to the minute. The two bar count in features the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 10th January, 2021 16:01 PM |
Views : 2007
The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso p Show More...
The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments and for those that require clarity on how they should be played refer to the video score on our YouTube channel. The performance practice with this movement the music editor would suggest is at times ambiguous and at best inconsistent. The music editor has avoided suggesting a rit at the end of the movement although in performance this is an option.
The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line.
The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy whilst the piano trio arrangements of Kirchner provide additional repertoire and ensemble opportunities.
There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned.
Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score.
The accompaniment downloads available enable players to enjoy an ensemble music experience playing the violin parts. Accompaniment 1 plays at 80|100|80 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 76|90|76 quarter (crotchet) note beats to the minute, Accompaniment 3 at 72|84|72 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 68|80|68 quarter (crotchet) note beats to the minute. The two bar count in features the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 10th January, 2021 13:01 PM |
Views : 1813
The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso p Show More...
The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composers keyboard music and a bass line.
The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy whilst the piano trio arrangements of Kirchner offer excellent additional repertoire.When playing this music on the organ understand than it was composed for an instrument described as a pedal piano which had one keyboard with a pedal board. It was often used as a practice instrument by organists. It is possible to see one being played on YouTube. Close
Added: 30th December, 2020 14:12 PM |
Views : 2198
The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the ro Show More...
The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the romantic period and both ordered and appealing music to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it.
The realisation in the video score is clearly not as nuanced as a live performance. Pianists should approach playing the Study in Canon No.4 with a lightness in the hands ensuring that there is clarity in their understanding of the musical texture. The texture is straightforward in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 72 eighth (quaver) notes to the minute in the first section from bar 1 to 19 and then 80 eighth notes for the remainder of the movement with the occasional slowing down or rit. The performance practice associated with the Study in Canon No. 4 also varies adding further interest to the music’s study. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. Managing the tempo through the playing of the whole piece is one of the challenges of a performance and more than one approach can be employed. The dynamic range is an additional aspect of the performance that can be explored. It is necessary to have an understanding of the strong chromatic element in the music which is particularly evident in the bass line and the chordal accompaniment. There is value in pianists playing through each of the lines to understand the imitation processes that are incorporated in the score. The music included in Robert Schumann’s Opus 56 collection has been arranged by Georges Bizet for piano duet and Claude Debussy for two pianos and in these arrangements the composing principles of canon and imitation aspects are much easier to explore. Players need to pay attention to the rhythmic detail and the chromatic detail. The mordents have been written out in the video score although the music editor suggests omitting the small decorative/ornamental notes in the early stages of learning the movement. The uses of the sustaining pedal whilst recommended has not been indicated in the sheet music score. The small decorative notes in the turns in bars 17, 19 and 65 do not sound in the video score or realisation. Pianists will need to ensure that the reading of the notes and accidentals is accurate as the chromatic element in the movement is strong. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. Players may well wish to make use of the piano sustaining pedal although its use has not been indicated in the sheet music score. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Piano 1 or Piano 2 part. The Piano 1 sounds on the one side of the stereo channel channel and the Piano 2 on the other. Accompaniment 1 plays at 68 eighth (quaver) note beats to the minute in the first section and then 72 eighth (quaver) note beats to the minute. Accompaniment 2 plays at 72 eighth (quaver) note beats to the minute in the first section and then 80 eighth (quaver) note beats to the minute. Accompaniment 3 plays at 76 eighth (quaver) note beats to the minute in the first section and 88 eighth (quaver) note beats to the minute. Accompaniment 4 plays at 80 eighth (quaver) note beats to the minute in the first section and 90 eighth (quaver) note beats to the minute. Accompaniment 5 plays at 84 eighth (quaver) note beats to the minute in the first section and 92 eighth (quaver) note beats to the minute. There is a two bar eighth note (quaver) count in to the sound of a woodblock. In a performance situation printing two pages of music onto one side of A4 offers a practical solution for players. Close
Added: 5th December, 2020 11:12 AM |
Views : 1750
The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the ro Show More...
The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the romantic period and are ordered and appealing music to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style rather than directly imitating or copying it.
The texture is straightforward in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 68 eighth (quaver) notes to the minute in the first section from bar 1 to 19 and then 72 eighth notes for the remainder of the movement with the occasional slowing down or rit. Managing the tempo through the playing of the whole piece is one of the challenges of a performance and more than one approach can be employed. The dynamic range is an additional aspect of the performance that can be explored. It is necessary to have an understanding of the strong chromatic element in the music which is particularly evident in the bass line and the chordal accompaniment. There is value in organists playing through the lines to understand the imitation processes that are incorporated in the score. The music included in Robert Schumann’s Opus 56 collection has been arranged by Georges Bizet for piano duet and Claude Debussy for two pianos and in these arrangements the composing principles of canon and imitation aspects are much easier to explore. Players need to pay attention to the rhythmic and chromatic detail. The mordents have been written out in the video score whilst the small decorative notes in bars 17, 19 and 65 do not sound. In the video score each line of music is associated with a stave and so the music is presented slightly differently to how it appears in the sheet music score. The video score plays at 72 quaver beats from bar 1 – 18 and and then in the piu mosso section at 80 eighth notes (quaver) to the minute. Organists will need to ensure that their reading of the notes and accidentals is accurate as the chromatic element in the movement is strong . There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. Close
Added: 4th December, 2020 15:12 PM |
Views : 1596
The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the ro Show More...
The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the romantic period and are ordered and appealing music to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than direct imitating or copying.
The realisation in the video score is clearly not as nuanced as a live performance. Pianists should approach playing thee Opus 56 pieces with a lightness in the hands ensuring that there is clarity in their understanding of the musical texture. The texture is transparent in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 72 eighth (quaver) notes to the minute in the first section from bar 1 to 19 and then 80 eighth notes for the remainder of the movement with the occasional slowing down or rit. The performance practice associated with the Study in Canon No. 4 also varies adding further interest to the music’s study. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. Managing the tempo through the playing of the whole piece is one of the challenges of a performance and more than one approach can be employed. The dynamic range is an additional aspect of the performance that can be explored. It is necessary to have an understanding of the strong chromatic element in the music which is particularly evident in the bass line and the chordal accompaniment. There is value in pianists playing through the lines to understand the imitation processes that are incorporated in the score. The music included in Robert Schumann’s Opus 56 collection has been arranged by Georges Bizet for piano duet and Claude Debussy for two pianos and in these arrangements the composing principles of canon and imitation aspects are much easier to explore. Players need to pay attention to the rhythmic detail and the chromatic detail. The mordents have been written out in the video score although the music editor suggests omitting the small decorative/ornamental notes in the early stages of learning the movement. The uses of the sustaining pedal whilst recommended has not been indicated in the sheet music score. The small decorative notes in the turns in bars 17, 19 and 65 do not sound in the video score or realisation. In the video score each line of music is associated with a stave and so the music is presented slightly differently to how it appears in the sheet music score. The video score plays at 72 quaver beats from bar 1 – 18 and and then in the piu mosso section at 80 eighth notes (quaver) to the minute. Pianists will need to ensure that the reading of the notes and accidentals is accurate as the chromatic element in the movement is strong . There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. Players may well wish to make use of the piano sustaining pedal although its use has not been indicated in the sheet music score. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo part. The primo part sounds on the one side of the stereo channel channel and the secondo on the other. Accompaniment 1 plays at 68 eighth (quaver) note beats to the minute in the first section and then 72 eighth (quaver) note beats to the minute. Accompaniment 2 plays at 72 eighth (quaver) note beats to the minute in the first section and then 80 eighth (quaver) note beats to the minute. Accompaniment 3 plays at 76 eighth (quaver) note beats to the minute in the first section and then 88 eighth (quaver) note beats to the minute. Accompaniment 4 plays at 80 eighth (quaver) note beats to the minute in the first section and then 90 eighth (quaver) note beats to the minute.Accompaniment 5 plays at 82 eighth (quaver) note beats to the minute in the first section and then 92 eighth (quaver) note beats to the minute. There is a two bar eighth note (quaver) count in to the sound of a woodblock. In a performance situation printing two pages of music onto one side of A4 offers a practical solution for players. Close
Added: 3rd December, 2020 13:12 PM |
Views : 1621
Composed in the key In the key A minor this movement in ABA ternary form has a haunting quality. The realisation plays back at 66 dotted quarter notes Show More...
Composed in the key In the key A minor this movement in ABA ternary form has a haunting quality. The realisation plays back at 66 dotted quarter notes to the minute. The voice leading particularly in the two top lines of the organ solo is often quite difficult to follow and that is why the piano duet version arranged by Bizet and the two piano version arranged by Debussy are well worth exploring. The music editor suggests slow practice in the first instance to ensure that the reading of the notes and accidentals is accurate. Chromaticism is a strong feature of this movement. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and as far (speeding up and slowing down) as far as tempo is concerned. There is a substantial amount of score detail in the sheet music scores particularly in respect to the articulation of notes. Players may well wish to make use of the piano sustaining pedal although its use has not been indicated in the sheet music score. In temperament, Schumann was quite insecure and the Studies in Canon perhaps reflect the need for a himto reacquaint himself with the discipline of counterpoint. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 72 dotted quarter (crotchet) note beats to the minute, Accompaniment 2 at 69 dotted quarter (crotchet) note beats to the minute, Accompaniment 3 at 66 quarter note beats (crotchet) to the minute and Accompaniment 4 at 63 quarter note beats to the minute. There is a two bar count in with the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 7th November, 2020 13:11 PM |
Views : 2339
Composed in the key In the key A minor this movement in ABA ternary form has a haunting beautiful quality. Debussy has created an arrangement which h Show More...
Composed in the key In the key A minor this movement in ABA ternary form has a haunting beautiful quality. Debussy has created an arrangement which has beauty, shape and a sense of space. Debussy probably better than any other communicates the elements of the canonic study in his two piano arrangement of this movement creating the space and texture to communicate the details of the canon. Some of the detail of the scoring is different to Schumann’s original version for pedal piano. It is very interesting that other composers have re-visited Schumann’s Studies in Canon Opus 56 namely Bizet and Debussy. Tempo rubato is a musical element that could be explored in a performance although it has not been used in the realisation.
The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Piano I or Piano II parts. The Piano I part sounds on the one channel of the stereo signal and Piano II on the other. Accompaniment 1 plays at 69 dotted quarter (crotchet) note beats to the minute, Accompaniment 2 at 66 dotted quarter (crotchet) note beats to the minute, Accompaniment 3 at 63 quarter note beats (crotchet) to the minute and Accompaniment 4 at 60 quarter note beats to the minute. There is a two bar count in with the sound of a woodblock. As the music is in 12/8 time the music editor suggests that players should familiarise themeselves with this. In a performance situation printing two pages of music onto one side of A4 offers a practical solution for players. Close
Added: 4th November, 2020 10:11 AM |
Views : 2205
The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. The Show More...
The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. The voice leading particularly in the two top lines of the organ solo is often quite difficult to follow and that is why the piano duet version arranged by Bizet and the two piano version arranged by Debussy are well worth exploring. Schumann was quite an insecure individual both in himself and in his abilities as a composer. The reason for this is both can be understood by knowing that in that his original ambition was to be a pianist and secondly that a very overbearing father-in-law. There is added significance in the observation that this scond movement Opus 56 movement is 56 bars long. Schumann had an obsession with puzzles particularly mathematical ones. When playing this music on the organ understand than it was composed for an instrument described as a pedal piano which had one keyboard which was often used as a practice instrument by organists. Unsurprisingly, in music composed for this instrument with just one keyboard there is opportunity to share parts between the hands in some sections. The realisation plays back at 66 dotted quarter notes (crotchet) beats to the minute. From the music setting point of view this is quite a challenging piece particularly sorting out the two top voices which often are together in the same clef. For the player separating the voices by playing stems up for one voice and stems down for another offers clarity in understanding of the parts. Close
Added: 4th November, 2020 08:11 AM |
Views : 1890
Mi-a-ou is the second movement of the Dolly Suite Opus 56 which was originally published as a piano duet. The realisation score plays back at a tempo Show More...
Mi-a-ou is the second movement of the Dolly Suite Opus 56 which was originally published as a piano duet. The realisation score plays back at a tempo of 72 dotted half beats (minim) beats to the minute although there is a slower section towards the end of the movement. The tempo needs to be brisk but controlled. Some use of the sustaining pedal to communicate the range of the harmonic colour is recommended in one or two sections but is not indicated in the sheet music score. The writing is very pianistic in the sense that there are not too many technical difficulties and the chords fall nicely for the fingers. Rehearsal markings are in place in the score. Duettists will need to play with a lightness in the hands and there needs to be clarity in the articulation of the melodic ideas. Fauré as a composer is capable of writing music that has great appeal for both player and audience. The rhythmic detail is always interesting and the combination of a chromatic harmony with the add reference to the modal past gives the music a modern context. There are many recordings from both recent times and the recording archive which are worth exploring. The two piano parts Primo and Secondo can be downloaded as mp3 accompaniments enabling players to enjoy an ensemble music experience playing either the Primo or Secondo part The Primo part sounds on the right channel of the stereo signal and the Secondo part sounds on the left channel. Accompaniment 1 plays at 76 dotted half notes to the minute beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 69 quarter note beats (crotchet) to the minute. There is a 4 bar click beat before the music starts playing to give a clear pulse to players. The accompaniments have been recorded at a bit rate 256 kbps. When performing printing two pages of music on to one side of A4 offers a practical solution for players. The accompaniments will be uploaded in the next few days. Close
Added: 4th November, 2020 08:11 AM |
Views : 2357
Kitty-Valse is the fourth movement of the Dolly Suite Opus 56 originally published as a piano duet. The music needs to be played with a light one in a Show More...
Kitty-Valse is the fourth movement of the Dolly Suite Opus 56 originally published as a piano duet. The music needs to be played with a light one in a bar feel. Fauré as a composer is capable of writing music that has great appeal for both player and audience. The rhythmic detail is always interesting and the combination of a chromatic harmony with the added reference to the modal past gives the music a modern context. There are many recordings from both recent times and the recording archive which are worth exploring. The video score plays back at a tempo of 69 dotted half beats is the fourth movement of the (minim) beats to the minute. Some use of the sustaining pedal to communicate the range of the harmonic colour is recommended but is not indicated in the sheet music score. The realisation is possibly lacking in a lightness of touch that the music editor suggests is needed. Duettists will need to play with a lightness in the hands which is not altogether suggested in the playback of the video score. Additionally, there is probably a context for tempo rubato when playing this movement.
The two piano parts primo and secondo can be downloaded as accompaniments enabling players to enjoy an ensemble music experience playing either the primo or secondo part The primo part sounds on one side of the stereo signal and the secondo part sounds on the other. Accompaniment 1 plays at 69 dotted half notes (minim) beats to the minute, Accompaniment 2 at 66 dotted half note (minim) beats to the minute Accompaniment 3 at 63 dotted half note beats (mimim) to the minute and Accompaniment 4 at 60 dotted minim beats. There is a 4 bar click beat before the music starts playing to give a clear pulse to players. The accompaniments have been recorded at a bit rate 256 kbps. When performing printing two pages of music on to one side of A4 offers a practical solution for players. Close
Added: 4th November, 2020 07:11 AM |
Views : 2303
The Sonata in D for piano four hands Opus 6 was published in 1797. A rondo is a piece with a recurring theme and typically used as a last movement by Show More...
The Sonata in D for piano four hands Opus 6 was published in 1797. A rondo is a piece with a recurring theme and typically used as a last movement by Beethoven in his sonatas and concertos. They frequently contain music and melodic ideas that express the composer’s sunnier and uplifting side. The Rondo from Opus 6 offers a great opportunity for pianists to develop their ensemble playing skills. The playback tempo in the video score is 112 quarter note (crotchet) beats to the minute. The sustaining pedal can and should be used in a performance although it has not been indicated in the score. Clarity in the articulation of the musical ideas is essential in a successful performance and the contrast between legato and staccato playing can be explored to the full in a performance. Beethoven’s music always has clear harmonic direction and a strong sense of drama. He is also great one for exploring musical form and the dynamic element of music and these elements are evident in what is a relatively early published work. In the video score the ornaments are written out in full. There is always great clarity of intention in the composer’s compositional approach. Accents in Beethoven’s music are quite often placed on the weaker beats of the bar to which help gives his music its characteristic restlessness. Maintaining the rhythmic independence of the musical lines is an important consideration in a performance of the movement. The loud going to soft marking fp is a very characteristic Beethoven score marking. sf in the music score indicates what is known as a forzando or a forceful accent. In the video score the ornaments have also been written out in full. The score layout is ideal for auditioning the movement as a video although the sheet music scores from the PlentyMusic website have Primo and Secondo parts separated onto different pages as is the convention for piano duets.
The primo and secondo parts can be downloaded separately as “accompaniments” enabling players to enjoy an ensemble music experience playing either the primo or secondo parts. The primo part sounds on the one channel of the stereo signal and the secondo part sounds on the other. The tempos are as follows in quarter note beats to the bar Accompaniment 1 plays at 116 quarter note (crotchet) beats to the minute, Accompaniment 2 at 112 quarter note (crotchet) note beats Accompaniment 3 at 108 quarter note (crotchet) note beats and Accompaniment 4 at 104 quarter note (crotchet) note beats. There is a four bar count in /click introduction on the accompaniment mp3 files which are recorded at 256kbps.When performing printing two pages of music on to one side of A4 offers a practical solution for players. It is a good idea for players to use a metronome in their preparation. Close
Added: 2nd November, 2020 16:11 PM |
Views : 2612
Foster’s “ Soirée Polka” is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups alth Show More...
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 with a lightness of touch. A tempo of 108 quarter note (crotchet) beats to the minute is used in the playback score. The polka is a lively folk dance full of character originating from the area now known as Czechia (Bohemia). 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.
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 composer’s work so it was impossible for him to earn a decent living. There are a number of variants of this piece in existence so don’t be concerned if you familiar with a slightly different version.
The two piano parts primo and secondo can be downloaded separately as mp3 accompaniments enabling players to enjoy an ensemble music experience playing either the primo or secondo part. The primo part sounds on one side of the stereo channel and the secondo part on the other. Accompaniment 1 plays at 108 quarter note beats (crotchet) to the minute, Accompaniment 2 at 104 quarter note (crotchet) beats to the minute, Accompaniment 3 at 100 quarter note beats (crotchet) to the minute and Accompaniment 4 at 96 quarter note beats (crotchet) to the minute.There is a 4 bar click beat before the music starts playing to give a pulse and tempo indication for players. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 2nd November, 2020 14:11 PM |
Views : 2159
A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in a work composed, at a time that Schumann was i Show More...
A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in a work composed, at a time that Schumann was intent on restoring rigour and confidence to his own compositional process. For players a secure and even technique is needed to play this relatively short movement. Whilst this music references the past there is a romantic twist or two in the harmonic language. A tempo of 76 quarter note (crotchet) beats to the minute is used in the organ realisation. Trills begin on the note and the pattern is shown in the ossia stave in bar 7 where the trill is notated. Understand that the melodic and rhythmic shapes of the ornaments need to be played consistently throughout the movement. The trills do not sound in the organ realisation. Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently arranged for piano duet / piano four hands by Georges Bizet. There are also other versions for solo piano, two pianos and string quartet. Close
Added: 2nd October, 2020 09:10 AM |
Views : 2161
The Keyboard Sonata in D minor K.417 is a Fuga and can be performed on either the harpsichord, organ or piano and is believed to date from 1754. It is Show More...
The Keyboard Sonata in D minor K.417 is a Fuga and can be performed on either the harpsichord, organ or piano and is believed to date from 1754. It is composed in a style that refences the past and the notation in long notes imitates the style of writing associated particularly with the polyphonic lines of church music. It has some beautiful soaring lines and is a great piece of music for both the player and listener. Domenico Scarlatti did not compose many fugues and whilst he worked in relative isolation his compositional approach anticipates and looks to the future rather than the past. His father, Alessandro was the one more inclined to compose fugues. The organ realisation plays back at 84 half note beats to the minute. Domenico Scarlatti although born in Italy spent most of his working life employed by the Royal Courts in Portugal and Spain working as a musician, composer and teacher particularly of members of the royal household. His contribution to the repertoire are his 550+ keyboard sonata most of which are very inventive pieces in AB binary form. Little of his music was published in his own lifetime. Close
Added: 7th September, 2020 09:09 AM |
Views : 3607
The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingerin Show More...
The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingering in place and the cadential ornamentation is written out. The second duet in F major BWV 803 is a fugue written in the form of a da capo aria ABA. 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 in place which should serve as a useful guide in the first instance. The music editor’s concept is that once familiarised with the movement players will default to the plain score perhaps substituting their own choice of fingering when they feel it is appropriate.The tempo of the piano realisation and video score is 96 quarter note beats (crotchet) beats to the minute. A piece when played on the piano with energy and purpose that really can/does come alive. This is quite stunning contrapuntal music composed when J.S. Bach was at the top of his form. A very delicate almost paintbrush stoke is required particularly in the B section but an awareness of how to use weight in the hands is also most applicable in the A section. It is becoming one of the music editors most absorbing pieces to play and listen to simply because it explores so many aspects of articulation and performance and yet the conception is in just two parts. Pianists need to have a Lightness in the hands and touch needs to be explored at all times. Close
Added: 7th September, 2020 08:09 AM |
Views : 2882
The Sinfonias of J.S. Bach are three voiced works and can be played on either the harpsichord, piano or organ. There are 15 in the collection all of w Show More...
The Sinfonias of J.S. Bach are three voiced works and can be played on either the harpsichord, piano or organ. There are 15 in the collection all of which explore contrapuntal writing to the full. Bach’s intention was to prepare students for composition and a cantabile style of playing. The autograph copy of the Sinfonia’s is dated 1723. The organ realisation plays back at a tempo of 80 quarter note beats to the minute. The Two Part Inventions and Sinfonias are essential repertoire for all keyboard players and not a bad introduction to playing Bach on the organ. They are ideal “warm up” pieces. Close
Added: 7th September, 2020 07:09 AM |
Views : 2869
J.S.Bach’s Invention 8 BWV 779 in F is one of the most popular of the two part inventions and available as a free sheet music score from PlentyMusic Show More...
J.S.Bach’s Invention 8 BWV 779 in F is one of the most popular of the two part inventions and available as a free sheet music score from PlentyMusic. Cadential preparation is a strong feature and because is a relatively familiar keyboard work pianists will need to ensure that it has been well prepared before a performance.
The realisation plays back at 96 quarter note or crotchet beats to the minute. Many play it faster and interestingly it is an invention without ornaments. Avoid playing the movement too loudly and keep a lightness in the hands.
Remember that music cannot be played quickly until it can be played slowly.
Keyboard players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections.
Keyboard players will need to keep a lightness in the hands if they are to play the movement at tempo. Fingers will also need to be close to the keys. Fingering choices dependent on the direction in which the fingers and hands are moving also has a context with this particular invention.
An uplifting and appealing invention giving keyboard players the opportunity to combine legato and detached or staccato playing. Keyboard players are in familar territory both with the harmonic outline or key journey and the compositional processes used
This invention generally invites more of a consistent approach and vision which is suggested and supported by the recordings available.
Again it is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. What is fascinating is to hear some of the greatest pianists and harpsichordists playing what really are considered to be learning pieces.
The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique.
A plain score is attached to the edited music score. Close
Added: 7th September, 2020 07:09 AM |
Views : 2928
There are recordings of this work played on the piano, organ and harpsichord of this fine 4 part fugue now attributed to Gottlieb Muffat. Gottlieb Muf Show More...
There are recordings of this work played on the piano, organ and harpsichord of this fine 4 part fugue now attributed to Gottlieb Muffat. Gottlieb Muffat (1690 – 1770) the son of George Muffat was a court organist and composer in Vienna becoming first organist on the accession of Maria Theresa to the throne in 1741. His compositional output mostly comprises keyboard music although much of it was not published. Toccatas, fugues, ricerare, canzonas and suites are to be found in his music collections and Handel often borrowed and reworked Muffat’s music. Muffat was a fine contrapuntist although a conservative approach is evident in his writing. This piece is often attributed to G. Frescobaldi. The chromatic element of this movement makes it a challenge to read and to complicate matters performances and sheet music copies of the music do vary in their detail. Players need to study the score carefully because at times the musical lines have conflicting accidentals. This is explained by the composer referencing the modes that originate in music from earlier times that createwhat are known as “false relations.” There is an arrangement by Bartok of this Fugue for piano although at the time ihe understood it to be a work by Frescobaldi. There need to be clarity in the articulation of the lines particular when the fugal entries are made. A tempo in the range 72 – 84 quarter note beats to the minute is suggested whilst in the realisation and video score play back at 80 quarter note beats to the minute. One of the challenges for the player is deciding which hand plays which notes in the middle voices. The music editor will upload an edited music score to the website in the future. Players also need to communicate an awareness of the musical texture in their playing. The trills begin on the note and modern performances often features additional ornaments although the music editor advises caution and consistency in their use. There are strong rhythmic motifs in the fugue and any ornamentation should not detract from the composer’s intention. There are performances that suggest that the performance practice for music of this period is not as secure as music from more well researched times. Another challenge for musicians is understanding the pitch element in the music of the period. The tuning fork was invented in 1711 and the suggestion is that the pitch standard during the Baroque period was roughly a semitone layer than modern standard pitch of A4 = 440Hz. A4 in the Baroque period was = 415Hz although pitch levels did vary around Europe. The chromatic element is a particular feature and there is a unifying downwards chromatic line that appears a number of times. Close
Added: 7th September, 2020 07:09 AM |
Views : 2783
The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingerin Show More...
The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingering in place and the cadential ornamentation is written out. The second duet in F major BWV 803 is a fugue written in the form of a da capo aria ABA. 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 in place which should serve as a useful guide in the first instance. The music editor’s concept is that once familiarised with the movement players will default to the plain score perhaps substituting their own choice of fingering when they feel it is appropriate. The organ realisation and video score keeps to the same registration but in a performance there is opportunity to change the registration in the middle B section. The organ realisation plays back at 84 quarter note beats to the minute. Close
Added: 7th September, 2020 07:09 AM |
Views : 2749
A very attractive piece for organ or harpsichord just 56 bars in length but featuring strong musical shapes that explores the full range of the organ Show More...
A very attractive piece for organ or harpsichord just 56 bars in length but featuring strong musical shapes that explores the full range of the organ manual. A tempo in the range 84 – 96 quarter note beats to the minute is suggested with the realisation playing back at 84 quarter note beats to the minute. The movement can be played on a one manual instrument with an 8 foot stop suggested as an appropriate registration. Imitation, the use of sequence and repetition are compositional processes that feature with the full range of the keyboard being explored. The descending musical shapes and motifs need to be clearly articulated particularly at the beginning of phrases. There are 12 ornaments indicated in the score. The upper mordent note /note above/note is used on short notes while the trill is in place on notes a quarter note (crotchet) in length. As the movement progresses the texture becomes more complex and ornaments become less evident in the score. The video score which can be viewed on the YouTube channel has all the ornaments written out whilst the sheet music score has symbols in place. Ornamentation in music performance is a complex topic and additional ornaments could be added at important cadence points. The music editor argues the case for clarity and simplicity suggesting that ornaments are added when the movement can be played competently. Note that rests in silent voices are used rather inconsistently. The music editor has found recordings of this music where it has been attributed to A. Scarlatti. As music was hand copied and often shared between teachers and pupils this is a frequent occurrence in music from these early times. Domenico Zipoli (1688-1726) was an Italian Baroque composer who lived and worked as a Jesuit priest in South America. Born in Prato, near Florence he studied with Alessandro Scarlatti and Bernardo Pasquini and in Rome produced in 1716 a collection of keyboard pieces titled Sonate d’intavolatura per organo e cimbalo which includes this particular canzona. This music is still highly regarded and playable by an intermediate level player. Close
Added: 27th August, 2020 08:08 AM |
Views : 3458
In this arrangement for solo piano of Moszkowski’s Spanish Dance No. 2 Opus 12 (by the composer) the realisation plays back at 135 quarter note (cro Show More...
In this arrangement for solo piano of Moszkowski’s Spanish Dance No. 2 Opus 12 (by the composer) 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. 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. Close
Added: 26th August, 2020 17:08 PM |
Views : 1876
Although only 54 bars long the piece has great emotional and musical range making it a challenging performance piece. The melody needs to be played on Show More...
Although only 54 bars long the piece has great emotional and musical range making it a challenging performance piece. The melody needs to be played on the swell or choir manual and the accompaniment using a quiet registration on the great. The pedal part can also be coupled to the great. In any transcription or score reduction compromises have to be made. The repeating elements do add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which the organist will need to take into consideration in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing a controlled tone in solo playing. The off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry for the original song was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Close
Added: 17th August, 2020 12:08 PM |
Views : 1704
A tempo of 50 dotted quarter note beats to the minute is appropriate if players wish to play the movement at one tempo. Another approach is to take th Show More...
A tempo of 50 dotted quarter note beats to the minute is appropriate if players wish to play the movement at one tempo. Another approach is to take the opening and closing section and play those slightly slower than the middle B section. Both approaches are quite valid. The movement needs to be played with a one in a bar feel. Players should endeavour to communicate the charm and intimacy of the music. 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 is 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). 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 the drawing room and composed at a time when the playing of piano duets was a very popular pastime. The triplet figuration so characteristic of Spanish music is a strong feature in this movement. 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. The mp3 accompaniment downloads from the PlentyMusic website enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 150/135/150, Accompaniment 2 plays 144/144/144, Accompaniment 3 at 138/150/138, Accompaniment 4 at 135/150/135 and Accompaniment 5 at 135/144/135 quarter note (crotchet) beats to the minute If pianists require accompaniments with different tempi then please advise the PlentyMusic office.
There is a four bar count that features the sound of two pitches of a woodblock. If not using an iPad or notebook, when performing PlentyMusic scores printing two pages of music onto one side of A4 offers a practical solution for players. Moritz Moszkowski (1854 – 1925) was a German composer of Polish – Jewish descent who was an exceptional pianist and well known at the end of the 19th century as a concert pianist, conductor, composer and teacher. He was also a competent violinist. He composed many small-scale piano works of which his 5 Spanish Dances Opus 12 set are probably the best known existing in several formats. After moving to Paris in 1897 his health deteriorated from 1908 and his career quickly went into decline. From being rich and famous he soon lost all his money as a result of exchanging the copyrights on his music for government bonds which became worthless at the outbreak of the war in 1914. Close
Added: 17th August, 2020 10:08 AM |
Views : 2105
This is J.S. Bach’s transcription of the first movement from A. Marcello’s oboe concerto. Bach was a great copier of music making it suitable for Show More...
This is J.S. Bach’s transcription of the first movement from A. Marcello’s oboe concerto. Bach was a great copier of music making it suitable for performance on the organ. Bach’s version dates from 1715. The score is marked Andante spiccato. Spiccato is a reference to a type of staccato and bowing technique on a string instrument. There is much to be learnt about the baroque concerto playing this movement and the terms frequently associated with the music all have a context. Tutti (all) ritornello (a recurring passage / theme / refrain) ripieno (whole group) concertino (solo group) episode (a musical section or passage that is not the theme). A competent performance of this movement should demonstrate that the player has a clear understanding of both the structure and texture. Remember that Bach’s keyboard transcription was originally an orchestral work. Ornaments featured in the movement are presented simply and consistently. Keyboard players will find many variants in terms of their frequency and their interpretation. Listen to recordings and copy the best of modern practice is the best advice. When learning the piece the music editor suggests omitting the ornaments. The ornaments have been written out in the piano video score available to view on our YouTube channel (the same ornaments feature in both the piano and organ sheet music scores). The organ sheet music score available from the PlentyMusic website has the symbols for the ornaments in place which understandably gives the score visual clarity. The organ realisation plays back at 72 quarter note (crotchet) beats to the minute. Clarity in the articulation of every note is the challenge in playing the music of J. S. Bach. As is the custom with the notation of baroque music there is very little score detail but understandably as the piano invites dynamic shading there is scope for interpretation and nuance in a performance. The movement ends with a Tierce de Picardy aka a Picardy third. This is essentially refers to the use of a major chord at the end of a piece in the minor key. Close
Added: 7th August, 2020 11:08 AM |
Views : 2476
This is J.S. Bach’s transcription of the first movement from A. Marcello’s oboe concerto. Bach was a great copier of music making it suitable for Show More...
This is J.S. Bach’s transcription of the first movement from A. Marcello’s oboe concerto. Bach was a great copier of music making it suitable for performance on the organ. Bach’s version dates from 1715. The score is marked Andante spiccato. Spiccato is a reference to a type of staccato and bowing technique on a string instrument. There is much to be learnt about the baroque concerto playing this movement and the terms frequently associated with the music all have a context. Tutti (all) ritornello (a recurring passage / theme / refrain) ripieno (whole group) concertino (solo group) episode (a musical section or passage that is not the theme). A competent performance of this movement should demonstrate that the player has a clear understanding of both the structure and texture. Remember that Bach’s keyboard transcription was originally an orchestral work. Ornaments featured in the movement are presented simply and consistently. Keyboard players will find many variants in terms of their frequency and their interpretation. Listen to recordings and copy the best of modern practice is the best advice. When learning the piece the music editor suggests omitting the ornaments. The piano sheet music score available from the PlentyMusic website has the symbols for the ornaments in place which understandably gives the score more visual clarity. Players may wish to review the use of ornaments in the light of their own listening and study. Ornaments always need to played rhythmically with clarity and consistency. The piano realisation plays back at 84 quarter note (crotchet) beats to the minute. The ornaments have been written out in the piano video score available to view on our YouTube channel. Pianists need to approach a lightness in the hands and the music editor suggests a dry acoustic with minimal use of the sustaining pedal. Clarity in the articulation of every note is the challenge in playing the music of J. S. Bach. As is the custom with the notation of baroque music there is very little score detail but understandably as the piano invites dynamic shading there is scope for interpretation and nuance in a performance. The movement ends with a Tierce de Picardy aka a Picardy third. This is essentially refers to the use of a major chord at the end of a piece in the minor key. Close
Added: 7th August, 2020 10:08 AM |
Views : 2672
This is J.S. Bach’s transcription of the second movement from A. Marcello’s oboe concerto. Bach was a great copier of music often making it suitab Show More...
This is J.S. Bach’s transcription of the second movement from A. Marcello’s oboe concerto. Bach was a great copier of music often making it suitable for performance on the organ. This is a keyboard arrangement of an oboe concerto attributed to the Venetian composer A. Marcello although Bach understood it to be a work by Vivaldi. J.S.Bach’s arrangement dates from 1715. It is work that is can be performed on the piano, organ and harpsichord. Careful reading of the score is required because of the numerous accidentals and the rhythmic accuracy that is required to play this movement as notated. The eighth note chordal accompaniment is very helpful in assisting accurate positioning of the notes. Playing a slow movement in a sustained and controlled way is a challenge and requires a different intensity than playing a movement in a moderate tempo. The realisation or video plays back at a tempo of 63 eighth note (quaver) beats to the minute although a tempo range from 60 to 66 eighth (quaver) notes to the minute is appropriate for the movement. and the ornaments are written out in full so what you see in the score is exactly what you hear. The sheet music music available from the PlentyMusic website has the symbols for the ornaments in place which understandably gives the score more visual clarity. The ornament markings in the sheet music score can be cross referenced with the video score and obviously with other recordings of the work. Players may wish to review the use of ornaments in the light of their own listening and study. Ornaments need to played rhythmically with clarity and consistency. There are a number of different ornaments that feature in the score. The music editor suggests omitting the ornaments win the early stages of learning the movement. The ornamentation in the realisation reflects current performance practice. The movement ends with a Tierce de Picardy aka a Picardy third. This is essentially refers to the use of a major chord at the end of a piece in the minor key. Close
Added: 30th July, 2020 07:07 AM |
Views : 3199
This is a keyboard arrangement of an oboe concerto attributed to the Venetian composer A. Marcello although Bach understood it to be a work by Vivaldi Show More...
This is a keyboard arrangement of an oboe concerto attributed to the Venetian composer A. Marcello although Bach understood it to be a work by Vivaldi. J.S.Bach’s arrangement dates from 1715.It is work that is performed on the piano, organ and harpsichord. The organ realisation of this the Third Movement: Presto plays back at 56 dotted quarter note beats to the minute and the repeat is not played. In the video score the ornaments are written out in full. Additional ornaments can be added at the performer’s discretion. The music editor suggests listening to available recordings of this work before making a judgement about possible additions that could be made.Bach’s arrangement is mostly written in two parts is an excellent piece for a pianist to consider playing on the organ.The realisation utilises an 8’ Principal from a sample set. In a performance the organist could explore an alternative registration on the repeats. Close
Added: 24th July, 2020 09:07 AM |
Views : 2821
This is a concise and dramatic movement and representative of the compositional style of Beethoven around 1800 whilst the movement itself dates from 1 Show More...
This is a concise and dramatic movement and representative of the compositional style of Beethoven around 1800 whilst the movement itself dates from 1803. The score is marked Presto and the realisation plays back at 108 dotted half note (minim) beats to the minute. The music needs to be played with a sense of one in a bar. The repeats are also played in the realisation and the music editor suggests that they should be played as the piece is being studied. Much can be learnt about Beethoven’s craft as a composer from this relatively short movement. Slow very accurate playing is needed in the first instance before building up to performance tempo. It is an excellent piece to evaluate and improve piano technique. It is a type of piece that a pianist needs to return to every once and a while both to refresh and improve. Much of the movement needs to be played with a lightness in the hands. The edited sheet music score has suggested fingering in place. The sustaining pedal is used in some of the sections and the music editor suggests a change of pedal with each change of harmony. Close
Added: 22nd July, 2020 09:07 AM |
Views : 2810
A beautiful movement in 12/8 time from the baroque Italian composer who studied with A. Scarlatti and B. Pasquini before working as a priest in South Show More...
A beautiful movement in 12/8 time from the baroque Italian composer who studied with A. Scarlatti and B. Pasquini before working as a priest in South America.
A pastorale is an instrumental composition usually in moderate tempo which suggests and evokes the life of a shepherd. Usually in 6/8 9/8 or 12/8 time they often feature a drone accompaniment reminiscent of the bagpipes, an instrument very much associated with shepherds. The use of thirds is another common feature and they are often played at Christmas. There are many examples from the repertoire including those by Corelli, Vivaldi, Handel and more recently Pietro Yon.
The movement is in three sections. The first and last sections are in 12/8 and are played at 63 dotted quarter notes or crotchet beats to the minute. These two sections are 21 bar and 25 bars in length and are in similar character although the closing section is chromatic. The second section is 11 bars long and in common time and is played at 100 quarter note beats to the minute. Ornamentation is in place for the 11 bar middle section. For pianists playing the organ there is only one pedal note to play.
The arrangement is for a two manual instrument and there is clear indication in the sheet music score as to which music is played on which manual. The movement can however be played quite satisfactorily on a one manual instrument. On the sheet music score Manual 1 refers to the swell and Manual 2 refers to the great. Players may prefer to substitute these terms on their music scores.
In the instruments of Zipoli’s time changing the registration or choice of stops was effectively the only technique available to the organist to change the sound and volume. Modern instruments with swell pedals enabling the swell box to be opened and closed and change the volume were a much later invention. Three different registrations are suggested for playing the movement although only two are used in the realisation.
Domenico Ziploi (1688-1726) was an Italian Baroque composer who lived and worked as a Jesuit priest in South America. Born in Prato, near Florence he studied with Alessandro Scarlatti and Bernardo Pasquini and in Rome produced in 1716 a collection of keyboard pieces titled Sonate d’intavolatura per organo e cimbalo. This music is still highly regarded and playable by intermediate level. Close
Added: 14th July, 2020 11:07 AM |
Views : 1814
This is another improver level arrangement for piano or keyboard with the melody being played by the left hand whilst the right plays an accompaniment Show More...
This is another improver level arrangement for piano or keyboard with the melody being played by the left hand whilst the right plays an accompaniment. The intention of the arrangement is to encourage balanced in the hands with the right hand playing quietly and the left hand playing out the melody so that it is clearly heard. It is an ideal piece of music for the improver level keyboards player as the melody is both familiar and quickly internalised. Do pay attention to the rhythmic detail and particularly the dotted notes. The realisation plays back at 66 half note or minim beats to the minute. There is suggested fingering in place on the sheet music score and keyboard players should be aiming for rhythmic playing with a legato touch. The time signature is 2/2 often referred to as “cut time” meaning that there are two half note or minim beats to the bar. Country Gardens is a traditional English folk tune that was collected (notated) by Cecil Sharp in 1899 from the concertina playing of William Kimber who was the musician for Headington Quarry Morris Men. The chords are also notated above the treble clef stave using letter symbols simply to get players used to understanding how these these symbols are used particularly in the playing of folk and popular music. Close
Added: 9th July, 2020 12:07 PM |
Views : 2864
The second movement Andante from Kuhlau’s Sonatina in C is an intermediate level piano solo and an excellent piece to play for those seeking to deve Show More...
The second movement Andante from Kuhlau’s Sonatina in C is an intermediate level piano solo and an excellent piece to play for those seeking to develop their legato playing in the context of a slow movement.
Playing a slow movement does require emotional range and they are often more difficult to play than musicians imagine when compared to say a minuet and trio and a moderate tempo. This slow movement needs to be played with a clear awareness of the 6/8 timing which needs to be communicated in the playing. The rhythmic detail requires particular attention whilst the melody clearly needs to sing out over the accompaniment. The repeats are played in the realisation. The use of the piano sustaining pedal is recommended and has been notated in just the first line of the sheet music score although its use is required for the whole movement. The convention when playing a repeated note in classical music is often to change the finger used and keyboard players may wish to develop this technique in this movement. A plain score is appended to the edited sheet music score enabling players to edit in their own choice of fingering and pedal markings. Close
Added: 8th July, 2020 11:07 AM |
Views : 2598
Country Gardens is a traditional English folk tune that was collected (notated) by Cecil Sharp in 1899 from the concertina playing of William Kimber w Show More...
Country Gardens is a traditional English folk tune that was collected (notated) by Cecil Sharp in 1899 from the concertina playing of William Kimber who was the musician for Headington Quarry Morris Men. There are many variants of the tune and this is an improver level two part arrangement for piano or keyboard. It is an ideal piece of music for the improver level keyboards player as the melody is both familiar and quickly internalised. Do pay attention to the rhythmic detail and particularly the dotted notes. The realisation plays back at 72 half note or minim beats to the minute. There is suggested fingering in place on the sheet music score and keyboard players should be aiming for rhythmic playing with a legato touch. The time signature is 2/2 often referred to as “cut time” meaning that there are two half note or minim beats to the bar. Close
Added: 8th July, 2020 10:07 AM |
Views : 3163
Frankie and Johnnie is an improver level piano solo exploring the 12 bar blues in a swing style requiring it to be played with a triplet feel. The con Show More...
Frankie and Johnnie is an improver level piano solo exploring the 12 bar blues in a swing style requiring it to be played with a triplet feel. The convention as far as notating swing rhythm can vary and be confusing. Listen to the realisation score and understand the conventions involved in the notation of the rhythmic shapes. The original text of the song is about jealousy and murder and likely to be in part true. There are hundreds of recordings of the song representing a great range of musical styles. The realisation plays back at 120 dotted quarter (crotchet) beats to the minute although the closing section is played at a slightly slower tempo. The music needs to be played in a relaxed manner and there is opportunity to explore the articulation of the melody notes. The best advice when playing this type of music is to essentially make a performance your own. Close
Added: 30th June, 2020 13:06 PM |
Views : 3105
The “Arrival of the Queen of Sheba” is a very popular piece and is often used as a wedding processional.
This shortened version has just 36 bars a Show More...
The “Arrival of the Queen of Sheba” is a very popular piece and is often used as a wedding processional.
This shortened version has just 36 bars and lasts for just over a minute which is often long enough for the purposes of most weddings. The sounding key of the organ arrangement is G major whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the minute. Three registrations are suggested and used in the realisation and are suggested for a performance. There is also a piano score attached to the organ score as the music can be quite satisfactorily played on the manuals. Playing the full version is quite a challenge because of the key changes which make closing off the music in the context of a wedding rather unpredictable and often not easy. The sinfonia was originally scored for two oboes and strings and comes from Act III of Handel’s oratorio “Solomon.” The title the was given to the Sinfonia by Sir Thomas Beecham possibly in the 1930’s. Close
Added: 30th June, 2020 10:06 AM |
Views : 3254
The Largo from the Organ Sonata in D minor is a binary form movement in 12/8. The realisation plays back at 42 dotted quarter note beats to the minute Show More...
The Largo from the Organ Sonata in D minor is a binary form movement in 12/8. The realisation plays back at 42 dotted quarter note beats to the minute whilst the trills sound on the playing of the repeats. The sheet music comes with both a piano and organ score. This is a very good movement to transition piano players into playing the organ with two manuals and pedals.
The music editor suggests playing through the music without ornamentation in the first instance then adding the trills on the repeat. The advice on the use or ornaments is that appropriateness and consistency should be the abiding criteria in a performance. Ornamentation is a complex issue particularly at this time in music history. Apart from the consideration of Italian style there is also the fact that Galuppi is one of those composers who links one musical age and with another in what was a time of much change in performance practice.
He composed a great number of works for keyboard instruments and was highly regarded as a performer.
He also composed operas and sacred music. Galuppi’s music is not particularly well represented by publishers and one of the reasons for this is because of Napoleon’s invasion of Venice in 1797. As a consequence of this many of the composer’s manuscripts were lost.
Baldassare Galuppi (1706 – 1785) was born on the Venetian island of Burano and whilst he worked in Vienna, London and St. Petersburg he was mostly based in Venice where he held a number of important musical positions. He is one of an important group of composers that link the baroque with the classical age and is identified particularly with the style galant movement. Close
Added: 25th June, 2020 09:06 AM |
Views : 1910
The First Movement from Baldassare Galuppi’s Organ Sonata in D minor is in AB binary form. For those who wish to have more information on how the or Show More...
The First Movement from Baldassare Galuppi’s Organ Sonata in D minor is in AB binary form. For those who wish to have more information on how the ornaments are played then the music editor suggests referring to the video sheet music score on YouTube where the ornaments are written out in full. As an organ piece the movement can be effectively played on a one manual instrument with possibly a choice of 8’ stops. This is music composed in the transition period between the baroque and classical periods.
The A section is just 10 bars long and essentially comprises has two contrasting musical ideas or strains a and b with each strain being 5 bars long. The section closes in the dominant key of A minor.
The B section is 20 bars long and opens with the same shape and strain as the first section but in A minor. Some new material is introduced at bar 16 and then after a few passing modulations the movement returns to the home key and opening strain of Section A at bar 23.
Baldassare Galuppi (1706 – 1785) was born on the Venetian island of Burano and whilst he worked in Vienna, London and St. Petersburg he was mostly based in Venice where he held a number of important musical positions. He is one of an important group of composers that link the baroque with the classical age and is identified particularly with the style galant movement. Close
Added: 25th June, 2020 08:06 AM |
Views : 2765
The uplifting third movement from Baldassare Galuppi's Organ Sonata in D minor has strong rhythmic shapes and harmonic sequences. The video score play Show More...
The uplifting third movement from Baldassare Galuppi's Organ Sonata in D minor has strong rhythmic shapes and harmonic sequences. The video score plays back at 60 dotted quarter note (crotchet) beats to the minute. A lightness in the registration is appropriate whilst the movement can be played the without repeats. There is a lovely exploration of space in this music with the rhythmic shapes being a strong feature of the musical content. Galuppi is one of an important group of composers that link the baroque with the classical age and is identified particularly with the “galant style” movement. Galuppi’s music is not particularly well represented by publishers and one of the reasons for this is because of Napoleon’s invasion of Venice in 1797. As a consequence of this many of the composers’ manuscripts misplaced and lost. Close
Added: 25th June, 2020 08:06 AM |
Views : 2675
Carl Philip Emanuel Bach 1714 - 1788 is an important figure in music history and a composer that links the baroque with the classical era. He was an i Show More...
Carl Philip Emanuel Bach 1714 - 1788 is an important figure in music history and a composer that links the baroque with the classical era. He was an important influence on F.J.Haydn and L. van Beethoven who both held J. S. Bach’s composing son in high regard. This particular period in music history is a fascinating one and C.P.E Bach’s music is deserving of more attention both from the performance point of view and the need for well researched modern editions of his most popular music. This particular movement is in the “empfindsamer Stil” or sensitive style that is a feature in much of C.P.E.Bach’s music and other north German composers of the mid 18th century. It is approach that focuses on the expression of emotion in an intimate musical style that could be described as being declamatory or one that utilises both drama and dialogue. Whilst a movement with appeal there will be quite a challenge getting the piece to a performance standard.
A realisation score with the ornaments all written out is appended to the sheet music score so that keyboard players can make a thorough study of the ornamentation of this work. This is an often complex and contradictory area but understandable because this composition comes from a time of great change in music. Keyboard players should have a sense of an eighth note quaver beat whilst the video score plays back at a tempo of 58 quaver beats to the minute. C.P.E. Bach’s favourite keyboard instrument was the in fact the clavichord and he was not really known to be an organ virtuoso like his father. He composed relatively little for the organ but did write some sonatas music for the sister of Frederick II, the Great, Princess Anna Amalia of Prussia. This movement which is part of a three movement sonata was composed sometime around 1755. C.P.E. Bach was known as the “Berlin Bach” whilst he worked in Berlin and then the “Hamburg Bach” when he moved there to replace his godfather Telemann as Kapellmeister. This distinguished him from his brother J.C. Bach who was known as the “London Bach”. Close
Added: 24th June, 2020 20:06 PM |
Views : 2981
It is intended to introduce keyboard players to “swing” playing. This slow blues has a simple two part texture. Whilst swing music has a triplet f Show More...
It is intended to introduce keyboard players to “swing” playing. This slow blues has a simple two part texture. Whilst swing music has a triplet feel to it players need to appreciate that the conventions involved in the notation of the rhythm of swing style can vary and be confusing. Listen to the playback score and understand the conventions involved in the writing of swing music by studying the score notated in common time and the appended score in 12/8. Appreciate that swing music can be notated in more than one way. The notation convention in the edited music score with suggested fingering is how this music would normally be presented to the music reading musician. The form of the 32 piece can be represented by the letters A A B A with each section being 8 bars long. Keyboard players should be aiming for fluidity in their playing. The realisation plays back at 110 dotted quarter (crotchet) beats to the minute.
As a warm up to playing the piece the music editor suggests playing through through the following blues upwards and downwards slowly simply to become familiar with the sound of each scale.
Eb major Eb F G Ab Bb C D Eb Eb blues Eb Gb Ab Bbb Bb Db Eb Eb minor Eb F Gb Ab Bb Cb D natural Eb
Instrument players interested in this style of music will need to become familiar with terms like blue note and blues turnaround and spend time listening to blues style piano players particular from the New Orleans area. Close
Added: 24th June, 2020 13:06 PM |
Views : 3020
A very familiar piano piece known as “Für Elise” and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo form. In Show More...
A very familiar piano piece known as “Für Elise” and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo form. Interestingly it is a piece that was not published until 40 years after the composer’s death. As a popular piece with some sections invitingly straightforward and others more challenging to play it is a movement that is frequently played badly. Counting and communicating the beats to the bar particularly in the tricky octave sections is essential if the timing is to be accurate. The realisation is lacking in tonal contrast. The movement needs to be played with a lightness in the hands which means that it shouldn’t be played too loudly. The performer needs to aim to communicate the simplicity of the music which actually is quite a rare quality in Beethoven’s music. The realisation is a little bit stiff and lacks fluidity especially in the statement and of the opening motif/shape and its many repetitions. The player has the opportunity to linger a little more than is demonstrated in the playback whilst always suggesting a one beat to the bar feel in the music. The music editor suggests the use the sustaining pedal and its use is indicated in the first section of the sheet music score. The bass line from bar 81 is an opportunity for pianists to use different fingers on the repeating notes and the music editor suggests the players write in their own fingering choices. For those wanting clarity on how to play the turn in bar 51 the music editor suggests looking at the video score on our YouTube channel. Click the link on the home page of the website. The music editor has not made use of repeat signs which is an option that could have been used in the first part of the movement
Beethoven expanded the musical forms of the classical period. He also is an important link between the classical and the subsequent romantic age. As a composer he was especially interested in process and the exploration of musical ideas. Für Elise is also a romantic work in the sense that it invites a strong emotional response from both players and listeners. Close
Added: 18th June, 2020 12:06 PM |
Views : 3274
The third movement from Kuhlau’s Sonatina in C is an intermediate level piano solo and an excellent piece to play for those seeking to acquire the p Show More...
The third movement from Kuhlau’s Sonatina in C is an intermediate level piano solo and an excellent piece to play for those seeking to acquire the piano technique needed to play classical music competently. This is a typical last movement of a sonatina or sonata in that it is light in mood and in rondo form. A rondo is a movement with a recurring theme and the structure can be represented by the letters ABACAB + a closing section or coda. For those who persevere in managing to play the movement competently there are many pieces waiting to be played from the classical repertoire. The realisation plays back at a tempo of 120 quarter note (crotchet) beats to the minute. Playing at this tempo does require lightness in the hands. This is perfect music for the piano with both themes and accompaniment perfectly suited to being articulated on the piano. The sustain pedal is may be used but its use is not indicated in the sheet music score. Friedrich Kuhlau (1786 – 1832) was a Danish composer and pianist of the late Classical and early Romantic time who along with a group of composers that includes Muzio Clementi (1752 -1832), Jan L. Dussek (1760 – 1812) and others composed piano music that is has become essential repertoire for the growing pianist. Close
Added: 13th June, 2020 12:06 PM |
Views : 2796
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 12:06 PM |
Views : 2812
The One Ten Blues is an improver level piano solo exploring the blues idiom at a medium tempo
Formally it can be represented by the letters A B A with Show More...
The One Ten Blues is an improver level piano solo exploring the blues idiom at a medium tempo
Formally it can be represented by the letters A B A with A having a standard 12 bar blues structure and B being a middle 8 bar section. A percussive approach to playing the keyboard is appropriate for this piece and the rhythm needs to be played in a straight manner. The realisation plays back at 110 dotted quarter (crotchet) beats to the minute. As a warm up to playing the piece the music editor suggests playing through through the following three blues scales upwards and downwards slowly simply to become familiar with the sound of the scale.
C Eb F Gb G Bb C F Ab Bb B (natural) C Eb F G Bb C Db D F G
For those wishing to connect blues music with rock and roll and rhythm and blues spend time listening to recordings by Louis Prima, Big Joe Turner, Louis Jordan, Fats Domino and others. Close
Added: 8th June, 2020 11:06 AM |
Views : 2678
The Wild Horseman is an improver level piano solo and an ideal piece to encourage fast playing. In ternary form ABA the music comes from the collectio Show More...
The Wild Horseman is an improver level piano solo and an ideal piece to encourage fast playing. In ternary form ABA the music comes from the collection that Schumann composed in 1848 for his three daughters. It is in A minor and is an excellent piece for developing arpeggio playing. It should be played at a fast tempo whilst the realization plays back at 110 dotted quarter note beats to the minute. The Album for the Young is one of the great collections of piano literature for the young player. Close
Added: 1st June, 2020 10:06 AM |
Views : 2679
Froberger’s Canzona No.5 is a work performed on both the organ and harpsichord. It is composed in three section ABC each being independent of the ot Show More...
Froberger’s Canzona No.5 is a work performed on both the organ and harpsichord. It is composed in three section ABC each being independent of the other. The music is conceived in 4 lines and imitation is a featured compositional process. The realization plays back at 88 quarter note (crotchet) beats to the minute in the A section, 76 dotted quarter note (crotchet) beats to the minute in the B section and 80 quarter note (crotchet) beats to the minute in the final C section. When playing through the movement some thought does need to be given to the sharing of the lines between the two hands. There are moments in the score when there is tonal/modal ambiguity in the score. False relation is in evidence in the writing. This movement is evidence that the tonal system was not fully established and in place.
The thematic ideas in all three sections are of a lively and uplifting character. The tempo is much slower at the cadence points at the end of the three section. Cadence points also offer an opportunity for ornamentation that needs to be appropriate style. The music is conceived in 4 parts and where a part is not being sounded rests also indicated in the score. When played on a two manual organ the A+C section can be played on one manual and the B section on another. 8 ft stops would be an appropriate choice for the registration. Johann Jacob Froberger (1616 – 1667) was a German baroque composer, harpsichordist and organist particularly remembered for creating and developing the keyboard suite. The composer generally would not allow his music to be published so only his patrons and friends were familiar with his music. As recently as 2006 an autographed manuscript of his music was discovered. He was a pupil of Frescobaldi and spent time living and working in Vienna. Close
Added: 31st May, 2020 12:05 PM |
Views : 2673
This is a short concentrated movement having a lightness of mood often associated with final movements of musical works in the classical period. The m Show More...
This is a short concentrated movement having a lightness of mood often associated with final movements of musical works in the classical period. The melodic material is both appealing and chromatic scale passages can be described as transition preparing the way for a return to the opening theme. The final 12 bars can be described as a coda or closing section. The realization plays back at a tempo of 80 dotted quarter notes beats (dotted crotchet) to the minute. A lightness in the hands is essential to play this music at tempo. As an adult player revisiting a student piece it becomes much clearer what two techniques need to be practiced in order to become a competent keyboard player. Firstly, thumb under technique and fourth finger over technique (encouraged by practice of scales). Secondly, changing the finger on a repeating note encourages a lightness in the hands when playing music at this tempo. There is an edited sheet music score available which has suggested fingering available as a free score from the PlentyMusic website. A plain sheet music score is also appended. This particular movement is also excellent for exploring the full range of the piano. Friedrich Kuhlau (1786 – 1832) was a Danish composer and pianist of the late Classical and early Romantic time who along with a group of composers that includes Muzio Clementi (1752 -1832), Jan L. Dussek (1760 – 1812) and others produced piano music that is has become valued repertoire for the developing pianist and much of it has been used for teaching purposes. Close
Added: 31st May, 2020 10:05 AM |
Views : 2765
A quite charming and beautiful movement perfect for developing and combining legato playing with a sound piano playing technique. The repeat is not pl Show More...
A quite charming and beautiful movement perfect for developing and combining legato playing with a sound piano playing technique. The repeat is not played in the realization. The music editor has been quite minimalist as far as score detail is concerned simply because too many edited copies of this sonatina have score detail that is irrelevant when playing on a modern piano or keyboard. There is an edited sheet music score available which has suggested fingering on the website. This also has a plain sheet music score attached. The principle of contrast so essential to the classical composition is evident in this movement. Friedrich Kuhlau (1786 – 1832) was a Danish composer and pianist of the late Classical and early Romantic time who along with a group of composers that includes Muzio Clementi (1752 -1832), Jan L. Dussek (1760 – 1812) and others produced piano music that is has become essential repertoire for the developing pianist. Close
Added: 21st May, 2020 16:05 PM |
Views : 2942
Le jardin de Dolly is the third movement of the Dolly Suite Opus 56 and was originally published as a piano duet. The realization score plays back at Show More...
Le jardin de Dolly is the third movement of the Dolly Suite Opus 56 and was originally published as a piano duet. The realization score plays back at a tempo of 72 quarter note (crotchet) beats to the minute. When performing the music there is an opportunity to slow down at the ends of phrases and then return to a tempo at the start of the next phrase and this approach is featured in both the realisation and the accompaniments. Gabriel Fauré’s Le jardin de Dolly is a lovely piano duet to play. Once you notice the detail of the scoring then you begin to appreciate the beauty of the writing and scoring. Use of the sustaining pedal to communicate the range of the harmonic colour is recommended and but not indicated in the sheet music score. The movement technically is not difficult to play but it does require careful reading and understanding of the contexts of the parts particularly when the melody moves to one of the inner parts. Too many duettists play this music too quickly which makes it rather abrupt as such and some of the reflective quality is lost. There are many recordings from both recent times and the recording archive which are worth exploring. The music editor was particularly impressed with the recording by Beatrice and Walter Klein who play the movement in an almost hushed secretive manner. The modal element that features in so much of Fauré’s music stems back to the fact that the composer like many French musicians was trained in the traditions of church music which referenced the old scales used particularly in the singing of plainchant. The two piano parts Primo and Secondo can be downloaded separately as “accompaniments” enabling players to enjoy an ensemble music experience playing either the Primo or Secondo part The Primo part sounds on the right channel of the stereo signal and the Secondo part sounds on the left channel. Accompaniment 1 plays at 76 quarter note beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 69 quarter note beats (crotchet) to the minute. There is a 4 bar click beat before the music starts playing to give a clear pulse to players. When performing printing two pages of music on to one side of A4 offers a practical solution for players Close
Added: 12th May, 2020 13:05 PM |
Views : 2206
The three part Fugue in G BuxWV 175 originates as an organ work but readily transcribes as music that can be played on the piano. It is a movement fea Show More...
The three part Fugue in G BuxWV 175 originates as an organ work but readily transcribes as music that can be played on the piano. It is a movement featuring much imitation in the three lines of music. It is also divided into three sections and is more canzona than fugue. The music needs to be played very evenly with a lightness of touch. Entries of the subject in the voices need to be stated clearly. The challenge in playing music in this style is creating space and communicating the intentions and formal shape of the music. The playback tempo in the realisation is 72 quarter note beats to the minute but the movement can be played at a quicker tempo if preferred. There is minimal score detail in the sheet music score as is the convention with music from this era. The music editor also suggests listening to some of the organ versions that exist readily accessible on streaming media. Buxtehude 1637 – 1707 was an important compose of the mid-baroque period and an important influence on J. S. Bach, G.F. Handel and G. P. Telemann. Whilst described as a German composer he considered to be Danish himself though the place he was born is now in Sweden! His place of work from 1668 was St. Mary’s Church, (Marienkirche) Lübeck and apart from his vocal music composed for church contexts there is a substantial amount of music for organ including preludes, toccatas and fugues, chorale settings and pieces based on repeating bass lines or ostinatos. It is worth exploring music originally intended for the organ and harpsichord performance on the piano. Alan Feinberg’s CD “Fugal State” and Francesco Tristano “Long Walk” are two contemporary collections that include the keyboard music of Buxtehude played on the piano. Close
Added: 28th April, 2020 06:04 AM |
Views : 1902
The 6 Variations with Coda “Ich denke dein” for piano duet (piano 4 hands) were composed in 1803 and published in 1805. A quite delightful set of Show More...
The 6 Variations with Coda “Ich denke dein” for piano duet (piano 4 hands) were composed in 1803 and published in 1805. A quite delightful set of variations based on a song melody with a text that roughly translates as “I think of you when the sun shimmers on the sea” which suggests that the composer belongs more to the romantic than the classical era. sf means suddenly loud and is one of Beethoven’s most used score markings as is not unsurprisingly fp meaning loud going to soft. In Beethoven’s music the surprise element is always strong particularly in respect to dynamics and rhythmic accents which are often placed on the weaker beats of the bar. Time signatures appear at the beginning of the theme and also the beginning of each variation. All movements apart from Variations 3 and 5 are in common time. Tempos in Variation 3 and 5 are more relaxed and slower with the music notated in 2/2 time. As his sketch books show, Beethoven was particular fond of re-working and revising his composition ideas but there is always purpose and a clear sense of direction in his music. Use of the sustaining pedal is recommended but has not been indicated in the score. The lines of music are rhythmically independent which makes playing the trills in Variation 4 challenging. Beethoven is always interested in developing piano technique and there is evidence of this particularly in Variation 4. This particular variation took the music editor as much time to prepare as the rest of the work put together! The music editor suggests omitting the ornaments particularly in this variation in the first instance. Any pianists/keyboard players not sure of how the ornaments should be played should refer to the video score on the YouTube channel to see a suggested solution. In the video score the ornaments written out in full and it sounds exactly as the realisation available as the mp3 from the website. The playing of ornaments is much more interesting and challenging in Beethoven’s time. The Primo and Secondo can be downloaded separately as “accompaniments” enabling players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on one channel of the stereo signal and the Secondo part sounds on the other. The tempos are as follows in quarter note beats to the bar with the second figure indicating the half note or minim beat tempos for variations 3 and 5. There are three accompaniments: Accompaniment 112/50 Accompaniment 2 108/48 Accompaniment 3 104/46. There is a four bar count in /click on the accompaniment mp3. When performing printing two pages of music on to one side of A4 offers a practical solution for players. Close
Added: 18th April, 2020 12:04 PM |
Views : 2621
Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and g Show More...
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” whilst 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. Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate piano technique and in the context of the original arrangement was intended to demonstrate his virtuoso playing. This is an intermediate level arrangement with the playback tempo of the realisation being 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 in and shared between the hands are secure. The use of the sustaining pedal is recommended but is not indicated in the score. In bar 34 players are required to play both a Cb and a C natural. Gottschalk’s piano writing more than suggests the influence of Chopin. As the repetitive element in the movement is strong there is an opportunity to explore articulation, tonal range 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. Close
Added: 6th April, 2020 11:04 AM |
Views : 1388
Moritz Moszkowski (1854 – 1925) was a German composer of Polish – Jewish descent who was an exceptional pianist and well known at the end of the 1 Show More...
Moritz Moszkowski (1854 – 1925) was a German composer of Polish – Jewish descent who was an exceptional pianist and well known at the end of the 19th century as a concert pianist, conductor, composer and teacher. He was also a competent violinist. He composed many small-scale piano works of which his 5 Spanish Dances Opus 12 set are probably the best known existing in several formats. After moving to Paris in 1897 his health deteriorated from 1908 and his career quickly went into decline. From being rich and famous he soon lost all his money as a result of exchanging the copyrights on his music for government bonds which became worthless at the outbreak of the war in 1914. The Spanish sound is referenced by use of the phrygian mode which has the semi-tones between the first and second and the fifth and sixth degree of the scale - D Eb F G A Bb C D. The rhythmic shapes are from patterns associated with the Bolero which originated in Spain during the C18th as a form of ballroom dance and became a template and form used by many composers of art music. Music associated with particular countries and regions of Europe particular on its fringes became very popular towards the end of the 19th century in a movement that was known as nationalism. Moszkowski was a very well known composer artist in his own time but after his death like many composers his music disappeared from concert programmes. Score detail is in place for the whole movement simply for clarity. The suggested tempo to play this movement advised by the music editor is 104 quarter note (crotchet) beats to the minute but a realistic and equally satisfactory tempo is 96 quarter note (crotchet) beats to the minute. There are two options as to how to play the trills . Either as in the video score which can be viewed on our YouTube channel or by playing semi quavers. One of the characteristics of a Bolero is that it they speed up at the end and this feature has been retained in the realizations and accompaniments. This Bolero is a great ensemble piece offering plenty of contrast and pianistic in the sense that it quite playable. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 104 quarter note beats (crotchet) to the minute, Accompaniment 2 at 100 quarter note (crotchet) beats to the minute and Accompaniment 3 at 96 quarter note beats (crotchet) to the minute. There is a four bar count in that features the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. One of the characteristics of a Bolero is that it they speed up at the end and this feature has been retained in the realizations and accompaniments. This Bolero is a great ensemble piece offering plenty of contrast and pianistic in the sense that it quite playable. For those who want to explore the music of Moszkowski Étincelles (Sparks) from the Opus 72 set of Études is quite a movement often played as an encore at the end of a concert. Close
Added: 14th March, 2020 07:03 AM |
Views : 1758
A movement with beauty, shape and a sense of space. The imitation principle is understandably very strong in this work composed, the music editor unde Show More...
A movement with beauty, shape and a sense of space. The imitation principle is understandably very strong in this work composed, the music editor understands, when Schumann was intent on restoring rigour and confidence to his own compositional process. For the players there is surprisingly intensity and discipline needed to play this relatively short movement. Whilst this music references the past there is a romantic twist or two in the harmonic language. A tempo of 84 quarter note (crotchet) beats to the minute is used in the realisation. Trills begin on the note and have been written out in the first section of the score in the ossia staves. Understand that the melodic and rhythmic shapes of the ornaments are constant throughout the whole movement. The French word for study is Etude and those who develop or have developed a keen interest in music will be very aware of the many musical challenges associated with this word! Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently arranged for piano duet / piano four hands by Georges Bizet. There are also other versions for organ, two pianos and string quartet. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 76 quarter note (crotchet) beats to the minute and Accompaniment 3 at 72 quarter note beats (crotchet) to the minute and Accompaniment 4 at 68 quarter note beats to the minute.. There is a two bar count in with the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 5th March, 2020 11:03 AM |
Views : 2324
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. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 76 quarter note beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 68 quarter note beats (crotchet) to the minute. There is a four bar count in with the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 4th March, 2020 15:03 PM |
Views : 2290
The Children’s March is an intermediate level piano duet. The repeats are played in the realization and the formal pattern can be summarized as foll Show More...
The Children’s March is an intermediate level piano duet. The repeats are played in the realization and the formal pattern can be summarized as follows.
March: A A B B Trio: A A B B March Da Capo (No repeats) AB. This is a template that appears in much classical and romantic music. As is the convention the repeats are not played in the Da Capo repeat of the March. There is a great range of tempo explored in the many performances available of this march. The realization playback at 96 quarter (crotchet) note beats to the minute. This is a characterful and appealing piece with enough contrast and charm to make it an interesting performance piece for both performers and audiences. No sustaining pedal is indicated in the sheet music score although its (minimal) use is suggested. Musical ideas are shared between the parts and players need to be sensitive with regard to the dynamics that they use. Many of Schubert’s greatest works are composed for piano duet and he made a substantial contribution to the repertoire. The composing context often related to his circle of friends for whom he would often write music. Whilst the Children’s March is a short work there are some substantial and large scale works also waiting to be explored. In the Trio section the triplets require a lightness in of touch in the way they are played. It is also important to understand that the Primo and Secondo parts are rhythmically independent. The accompaniment downloads that are available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 96 quarter note beats (crotchet) to the minute, Accompaniment 2 at 90 quarter note (crotchet) beats to the minute and Accompaniment 3 at 84 quarter note beats (crotchet) to the minute. If players are using a metronome in their preparation then it might be sensible to play to a half note or minim beat. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 2nd March, 2020 10:03 AM |
Views : 2813
The Three Marches Opus 45 for piano duet (piano 4 hands) were composed in 1803 and published in 1804. The march form features strongly in 19th century Show More...
The Three Marches Opus 45 for piano duet (piano 4 hands) were composed in 1803 and published in 1804. The march form features strongly in 19th century music. In March No.1 the composer does not quite follow convention in the formal arrangement and symmetry of the typical March and Trio. March No. 1 can be represented as follows - March A B B Trio A A B March Da Capo (no repeats) A B. The realisation and music scores are presented as the movement is performed so repeats where indicated are played. The score detail in Beethoven’s music is always interesting particularly regarding dynamics. Accents for example, are often placed on the weaker beats of the bar and the surprise element in a score is always strong. The playback score plays back at a standard march tempo of 60 half note beats to the minute. The Trio is played at the same tempo as the March. Beethoven is particularly fond of adding closing sections often referred to as codas and there is a lovely example from bars 36 to 40. This is an excellent movement for understanding Beethoven’s approach to composition in his so called “middle” period. While many of the musical elements are straightforward the composer’s desire to expand and develop form, harmony and process are constantly evident. In addition, Beethoven’s music always has a strong rhythmic focus. All the way through the movement musical ideas are shared and developed creating what is a great ensemble piece. The ornaments in the music of Beethoven and his contemporaries also offer more challenges than those of the classical era. There are considerations as far starting notes and the number of notes played in trills - trills at important cadences can add to the dynamic and intensity of a performance. You might notice that the video score has a 6 note trill played at the end of the March although in the realization it is played as a four note shape. The Primo and Secondo parts can be downloaded as “accompaniments” enabling players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the right channel of the stereo signal and the Secondo part sounds on the left channel. The tempos are as follows in quarter note beats to the minute. Accompaniment 1 126 Accompaniment 2 120 Accompaniment 3 112. There is a four bar count in /click on the accompaniment mp3. When performing printing two pages of music on to one side of A4 offers a practical solution for players. It is a good idea for players to use a metronome in their preparation. Close
Added: 2nd March, 2020 09:03 AM |
Views : 2672
The Molto presto third movement of the Sonata for piano duet in B flat K.358 is a positive, joyous and like much of the composer’s music uplifting. Show More...
The Molto presto third movement of the Sonata for piano duet in B flat K.358 is a positive, joyous and like much of the composer’s music uplifting. The realisation plays back at a tempo of 108 half note (minim) beats to the minute. The first repeat is played in the realisation whilst the second repeat indicated in the sheet music score is not played. Multi-rests have not been used in the sheet music score but there are numbers in place indicating the empty bars in the sheet music score. This is a movement that does need to be played quickly and some of the tempi available on recordings are actually very challenging to play. The best advice is to start at a manageable tempo and then gradually increase it. The tempo of the movement as it is being played does however always need to be consistent. The music editor suggests setting a metronome to a half note (minim) beat minim beat in practice routines. There is opportunity for developing the “changing finger on a repeating note” technique and the playing of trills played by two hands requires careful practice. In the early stages of learning the movement the music editor suggests omitting the trills. For those wanting to see how the trills are played they can refer to the video score on our YouTube channel by clicking the appropriate link on the homepage of the website. The movement has many melodic shapes, textures and compositional processes characteristic of the composer and the music editor suggests that much can be learnt about the composer’s musical style by playing and listening to the piano duets. Mozart’s music always has a great sense of ensemble and his musical language is always consistent across the many musical forms that he embraced. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 108 quarter note beats (crotchet) to the minute, Accompaniment 2 at 104 quarter note beats (crotchet) to the minute and Accompaniment 3 at 104 quarter note beats (crotchet) to the minute There is a four bar count in featuring two different sounds of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 15th February, 2020 12:02 PM |
Views : 2322
The First Movement from the Sonata for Piano Duet in Bb K.358 for piano 4 hands is an intermediate level piano duet. The realization plays back at a t Show More...
The First Movement from the Sonata for Piano Duet in Bb K.358 for piano 4 hands is an intermediate level piano duet. The realization plays back at a tempo of 144 quarter note (crotchet) beats to the minute. Mozart composed many piano duets which he would often perform with his elder sister Nannerl.
A lightness of touch is required in a performance and all notes need to be clearly articulated. There is some lovely sharing of the melodic ideas in the ensemble. Playing Mozart requires a consistent and even approach and the avoidance of exaggerated playing. As far as the ornaments are concerned players should be imitating each other in their delivery. Trills played by both hands together do require careful practice The music editors view on the playing of ornaments is that they should be played simply, rhythmically and consistently. This is music that is very much about melody and accompaniment and it is important for players to communicate its charm and beauty. The first repeat is played in the realization and the second repeat marked in the sheet music score is typically omitted in a performance. There are not many crescendo markings evident in many of the piano duet scores available simply because much of Mozart’s keyboard music was written with the harpsichord in mind. The harpsichord is able to offer a contrasting range of dynamics but not a gradual increase (crescendo) or decrease in sound (diminuendo).The piano or more accurately the fortepiano invented by Christofori was work in progress during Mozart’s lifetime but essentially early pianos were much thinner toned instruments compared to the iron framed pianos familiar to modern ears. The fp indication loud going to soft is one more typically associated with both the instruments and piano music of Beethoven. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 144 quarter note beats (crotchet) to the minute, Accompaniment 2 at 132 quarter note beats (crotchet) to the minute and Accompaniment 3 at 120 quarter note beats (crotchet) to the minute There is a four bar count in featuring two different sounds of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 15th February, 2020 09:02 AM |
Views : 2089
The Second Movement: Adagio from W.A. Mozart’s Sonata for Piano duet in Bb K.358 is an intermediate level piano duet. The Sonata, composed in the pe Show More...
The Second Movement: Adagio from W.A. Mozart’s Sonata for Piano duet in Bb K.358 is an intermediate level piano duet. The Sonata, composed in the period 1773-74 in Salzburg was most probably intended to played by Mozart and his older sister, Nannerl. The realisation score plays back at a tempo of 58 quarter note (crotchet) beats to the minute. The first repeat is usually played in a performance whilst the second indicated in the sheet music score is usually omitted. Pianists and keyboard players do need to approach the work with a lightness of touch in their hands. When playing the movement as part of an ensemble one of the performing challenges is to maintain clarity in the texture and to communicate the melodic ideas and how these are shared between the players. Whilst not indicated in the score minimal use of the sustaining pedal is suggested. The octave playing in the Secondo part needs careful practice and occasional use of the fourth finger is also suggested for this particular passage. The trills particularly in the Primo part when they are played by both hands also require attention. No repeats are played in the realisation. The challenge when playing Mozart is actually to make it sound like Mozart with a lightness of touch and beauty of sound. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo parts. The Primo part sounds on the one channel of the stereo signal and the secondo part sounds on the other. Accompaniment 1 plays at 58 quarter note beats (crotchet) to the minute, Accompaniment 2 at 56 quarter note beats (crotchet) to the minute and Accompaniment 3 at 54 quarter note beats (crotchet) to the minute There is a two bar count in featuring two different sounds of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 14th February, 2020 17:02 PM |
Views : 2074
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 all Latin American pieces. The waltz melody 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 organs and was used for the song "The Loveliest Night of the Year" from the MGM film "The Great Caruso." This improver level (second year players) movement is a melody accompanied by vamped chords The realisation plays back at 60 dotted half note (minim) beats to the minute and keyboard players need to communicate a one to the bar feel in their playing. The movement is in ternary form Close
Added: 7th January, 2020 19:01 PM |
Views : 2132
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 well known Latin American pieces. The waltz melody 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 organs and was used for the song "The Loveliest Night of the Year" from the MGM film "The Great Caruso." This improver level (second year player) movement is a two part version. 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. The movement is in ternary form. Close
Added: 7th January, 2020 19:01 PM |
Views : 1993
Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. For the pianist the challenge is to co Show More...
Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. For the pianist the challenge is to communicate the melody of the song with as much of the intended accompaniment as possible. In the transcription there has been some necessary editing of the chords and the technique of crossing hands will need to be explored by the keyboard player to ensure legato playing of the melody. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which the pianist will need to take into consideration during a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. Pianists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Songs are understandably often arranged in different keys and two versions are available in the pdf download the first in Eb and the second in D. Close
Added: 3rd January, 2020 14:01 PM |
Views : 2006
This is a stunning piece and often played as an encore. There are many fine performances of this work some of them taken at speeds that could be descr Show More...
This is a stunning piece and often played as an encore. There are many fine performances of this work some of them taken at speeds that could be described as frightening. For the sake of clarity in communication the sheet music score is the same as the realisation or playback score. A plain score is also appended to the edited music score. This work needs to be played with the fingers close to the keys control and a light touch as many notes are played staccatissimo and the changing fingers on a note technique will need to be used. Where appropriate look for opportunities to use sequential fingering. The cadences can and should be played with more fluidity than is demonstrated in the realisation particularly if additional ornaments are added in the repeats. A tempo of 76 dotted quarter notes to the minute is used in the realisation and the work should be played with a one in the bar feel. If you can manage a tempo of 80 dotted quarter notes to the minute then music does really come alive
The advice on playing the ornaments is to be consistent, maintain rhythmic symmetry and explore options in the repeat sections. The music editor has yet to find two performers who have the same or at least a similar approach to the playing of the ornaments and suggests that players should listen to various performances of the work.
Padre Antonio Soler was a Spanish Catalan composer whose work belongs to the late Baroque and early Classical times. His best known works are his one movement sonatas which show the influenced by Domenico Scarlatti. Soler also took Holy Orders in his early 20’s and working at the monastery known as EL Escorial near to Madrid in Spain combining his duties as a monk with composition and teaching. His music was catalogued by Rubio early in the 20th century. This music is played on the harpsichord and piano whilst there are arrangements of this sonata for the harp and classical guitar. Close
Added: 13th December, 2019 12:12 PM |
Views : 2136
This prelude possibly dates from 1730 and is composed in four voices or lines of music with some sections having all voices sounding, whilst in others Show More...
This prelude possibly dates from 1730 and is composed in four voices or lines of music with some sections having all voices sounding, whilst in others three and sometimes only two. It opens with a section that is almost vocal in character before it transforms into a keyboard piece. There are no ornaments indicated in the score although there is an extraordinary amount of detail in the rhythmic figuration. The B section which begins at Bar 29 has some almost toccata like shapes whilst a four octave range is explored in the keyboard writing. The tempo of the realisation and playback is 72 quarter note beats to the minute and the repeats are not played. The repeat bar is indicated by a double bar at the end of bar 28 and there is also one at the end of the final bar in the sheet music score. One challenge for the performer is communicating the layers and lines that exist in the music with an awareness of an eighth note or quaver pulse. Another is to play the movement at a tempo that is appropriate and which can be maintained for the whole movement. Some of the figuration in the score can be a challenge to play if the tempo is too fast.
The piece can be performed AB, AAB and even AABB the latter making it quite a long piece. The music editor when learning the movement started with the final section bars 41-56, before playing bars 29-56 and then the piece as a whole. The specified fingering is appropriate for someone who can manage a reach of a 9th with both hands. A plain score is also appended to the edited music score. Close
Added: 13th December, 2019 10:12 AM |
Views : 2107
Puccini’s Piccolo Valzer dates from 1894 and but was revisited by the composer becoming Musetta’s Waltz “Quando me n’vo” in Act II of the op Show More...
Puccini’s Piccolo Valzer dates from 1894 and but was revisited by the composer becoming Musetta’s Waltz “Quando me n’vo” in Act II of the opera “La Boheme.” It is interesting to play this waltz melody as a piano piece and the music editor suggests a Moderato tempo rather than Lento. The composer was inspired to write the work after a boat trip fishing on the lake close to his home. The playing instruction con ondulazione is a reference to ripples on the water. Pianists need to avoid playing with too heavy a touch and the sustaining pedal needs to be used or else the playing may sound on the lumpy side. This is marked in the sheet music score and be ready for some rather quick pedalling changes. The realisation plays at 94 quarter note beats to the minute. There is opportunity for the music to ebb and flow in respect to the tempo and the tempo rubato is a reference to this type of playing. There is some wonderful harmonic writing in this ternary form ABA work but avoid any exaggerated playing and aim to communicate the simplicity and beauty of the melody. Close
Added: 13th December, 2019 09:12 AM |
Views : 2544
Elite Syncopations is one of Scott Joplin best ragtime compositions. If you are not sure how to approach the playing of Joplin’s music listen to th Show More...
Elite Syncopations is one of Scott Joplin best ragtime compositions. If you are not sure how to approach the playing of Joplin’s music listen to the composers own whose remastered piano rolls which are an excellent source of clarifying 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 intermediate level piano which also has suggested fingering in place. The music sounds key in the original key of C. Close
Added: 12th December, 2019 22:12 PM |
Views : 2337
Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement with syncopated shapes that needs to be played at a consistent Show More...
Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement with syncopated shapes that needs to be played at a consistent tempo. This is the piano version in its original key with the realisation playing at a tempo of 92 quarter note or crotchet beats to the minute. 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. Close
Added: 12th December, 2019 09:12 AM |
Views : 2009
An arrangement by the composer for solo piano of this charming character piece. This movement is in ABA ternary form with the A section playing back a Show More...
An arrangement by the composer for solo 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. 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. Close
Added: 5th December, 2019 12:12 PM |
Views : 2038
The First Movement from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. The realization plays back at a tempo of Show More...
The First Movement from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. The realization plays back at a tempo of 60 half note (minim) beats to the minute. The music editor suggests 64 minim beats to the minute as an ideal tempo for playing the movement. A light touch is required in a performance and all notes need to be clearly articulated. Playing Mozart requires a very consistent and even approach and the avoidance of exaggeration. As far are ornaments are concerned players should be imitating each other in their delivery. The short trill is a simple 4 note shape. This is music that is very much about melody and accompaniment and it is important for players to communicate its charm and beauty. The music editor’s preference is for a dry acoustic which is appropriate for the music and instruments of the period.
This sonata is likely to have been performed by the young Mozart with his elder sister Nannerl on a visit to London where the performing instrument was likely to have been a harpsichord. The music was only discovered in 1921 and whilst in the past it has been attributed to W.A Mozart the current view is that it was more probably composed by either his older sister Nannerl or his father Leopold. Suffice to say that much of Mozart's classical musical style is demonstrated in this sonata whichever one of the family composed it! The sonata has some very appealing musical content and as a work, most probably written by a child, it is interesting to play and compare to W.A. Mozart's later and more substantial piano 4 hands music such as the piano Sonata for Piano 4 hands in C K.521. There are several variants in terms of the scores available but the sheet music score and realisations are based on current performance practice. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo parts. The primo part sounds on the one channel of the stereo signal and the secondo part sounds on the other. Accompaniment 1 plays at 68 half note beats (minim) to the minute, Accompaniment 2 at 64 half note beats (minim) beats to the minute and Accompaniment 3 at 60 half note beats (minim) to the minute. There is a 4 bar count in featuring the sound of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 16th November, 2019 08:11 AM |
Views : 2546
A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passion Show More...
A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for solo piano has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and other serious composers have also contributed music to the tarantella repertoire. Close
Added: 15th November, 2019 20:11 PM |
Views : 1986
This piano prelude dates from 1897. Whilst Scriabin was famous and his importance recognised in his lifetime his music has been largely ignored and fo Show More...
This piano prelude dates from 1897. Whilst Scriabin was famous and his importance recognised in his lifetime his music has been largely ignored and forgotten since his death. His musical language is frequently extremely chromatic and dissonant whilst his early works can be described as belonging to the late romantic period in music history and are essentially tonal works. Many of his preludes and short works are both beautiful and challenging pieces of music and are deserving of more attention and being played. This particularly piece has been popularised by the American group the Punch Brothers on their album Phosphorescent Blues. As a young composer Scriabin was influenced by Chopin but in his later life he became pre-occupied with mysticism and theosophy in time becoming identified as a symbolist composer. Close
Added: 15th November, 2019 09:11 AM |
Views : 1654
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 Show More...
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 very fortunate in that he was able to source several folk music collections on which to compose and arrange music. 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. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The sustaining pedal needs to be used in the playing of the movement and many of the chords are played in a spread or arpeggiated pattern. The melodic and rhythmic shapes of the movement are both strong and this is an excellent performance piece. There are also many arrangements of the piece to be explored for various combinations of instruments. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 68 quarter note beats (crotchet) to the minute and 112 quarter note beats (crotchet) to the minute for the faster section, Accompaniment 2 at 66 quarter note beats (crotchet) to the minute and 108 quarter note beats (crotchet) to the minute for the faster section, Accompaniment 3 at 64 quarter note beats (crotchet) to the minute and 104 quarter note beats (crotchet) to the minute for the faster section There is a four bar count in featuring two different sounds of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 15th November, 2019 08:11 AM |
Views : 2637
The Military March No. 1 Opus 51 D.733 was published in 1826 along with two other marches although it was more than likely composed some years before Show More...
The Military March No. 1 Opus 51 D.733 was published in 1826 along with two other marches although it was more than likely composed some years before this date. It was intended to be a teaching piece. The March is in the key of D with the Trio section in the sub-dominant key of G. This work for piano four hands or piano duet has become one of Schubert’s most popular works. There are many arrangements for a range of different instrument combinations. The music is both tuneful and rhythmic. The March and the succeeding Trio are both in AB binary form with the repeats being played. The March is repeated at the end of the Trio without repeats so the form in performance can be summarised by the letters AABBCCDDAB. The realisation plays back at a tempo of 120 quarter note (crotchet) beats to the minute which is a tempo the music editor suggests the music really comes alive. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 120 quarter note beats (crotchet) to the minute, Accompaniment 2 at 116 quarter note (crotchet) beats to the minute and Accompaniment 3 at 110 quarter note beats (crotchet) to the minute. There is a four bar count in with a woodblock sound. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 15th November, 2019 08:11 AM |
Views : 2797
The Rondo from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. It is believed that this work dates from 1765 and Show More...
The Rondo from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. It is believed that this work dates from 1765 and was possibly played by Mozart and his sister on a visit to London when more than likely it was played on a harpsichord. A rondo is a piece with a recurring theme and the form of this movement can be represented by the letters A B A C A D A E A. The realization plays back at a tempo of 110 quarter note beats to the minute. Each section is played at the same tempo apart from the Adagio E section. The appoggiaturas marked in the score can be and are interpreted differently by different performers. The music was only discovered in 1921 and whilst in the past it has been attributed to W.A Mozart the current view is that it was more probably composed by either his older sister Nannerl or his father Leopold. Suffice to say there is much of Mozart's classical musical style in this sonata whichever one of the family composed it! The sonata has some very appealing musical content and as a work, most probably written by a child, it is interesting to play and compare to W.A. Mozart's later and more substantial piano 4 hands music such as the piano Sonata for Piano 4 hands in C K.521. There are several variants in terms of the scores available but the sheet music score and realisation are based on current performance practice. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 110 quarter note beats (crotchets) to the minute, Accompaniment 2 plays at 106 quarter note beats (crotchets) to the minute and Accompaniment 3 plays at 100 quarter note beats (crotchets) to the minute There is a 4 bar count in featuring the sound of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 9th November, 2019 10:11 AM |
Views : 2415
The Minuet and Trio for piano 4 hands from the Keyboard Sonata in C K.19d is an intermediate level piano duet. It is believed that this work dates fro Show More...
The Minuet and Trio for piano 4 hands from the Keyboard Sonata in C K.19d is an intermediate level piano duet. It is believed that this work dates from 1765 and was possibly played by Mozart and his sister on a visit to London when more than likely it was played on a harpsichord. The music was only discovered in 1921 and whilst in the past it has been attributed to W.A Mozart the current view is that it was more probably composed by either his older sister Nannerl or his father Leopold. Suffice to say there is much of Mozart's classical musical style in this sonata whichever one of the family composed it. The sonata has some very appealing musical content and as a work, most probably written by a child, it is interesting to play and compare to W.A. Mozart's later and more substantial piano 4 hands music such as the piano Sonata for Piano 4 hands in C K.521. There are several variants in terms of the scores available but the sheet music score and realisation are based on current performance practice. The pattern that the of this music in performance is Minuet AABB Trio AABB followed by a repeat of the Minuet without repeats AB. The video score plays back at a tempo of 112 quarter note beats to the minute. The tempi of the minuet and trio sections are the same. Pianists and keyboard players do need to approach the work with a lightness of touch which is perhaps not suggested in the realisation. All notes need to be clearly articulated but duettists need to remember that the piece is very much about melody and accompaniment and it is the top line which needs to prevail. The music editor is keen to have feedback in respect to the accompaniment particularly in regard to the tempo that has been suggested. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo parts. The primo part sounds on the one channel of the stereo signal and the secondo part sounds on the other. Accompaniment 1 plays at 126 plays at quarter note beats (crotchet) to the minute, Accompaniment 2 plays at 120 quarter note beats (crotchet) to the minute at beats to the minute and Accompaniment 3 plays at 112 quarter note beats (crotchet) to the minute. There is a 2 bar count in featuring the sound of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 20th September, 2019 08:09 AM |
Views : 2705
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often express 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 stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for solo keyboard or piano sounding in the key of G with the realisation playing back at a tempo of 60 dotted quarter note (crotchet) beats to the minute. This is an excellent performance piece because the melody is appealing and familiar. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. The first verse is a fairly straightforward two part version of the song and then in the second version or repeat the texture is more complicated intending to stretch the player. The music editor is keen on keyboard and piano players returning to a piece of music that can clearly demonstrate evidence of progression. Close
Added: 1st September, 2019 20:09 PM |
Views : 2331
When The Saints Go Marching In arranged for solo piano or keyboard in the key of D. The challenge for the piano/keyboard player is to keep the melody Show More...
When The Saints Go Marching In arranged for solo piano or keyboard in the key of D. The challenge for the piano/keyboard player is to keep the melody line singing out over the accompaniment. 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 keyboard player 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. Chords have also been indicated in the score as is the convention in popular music. Close
Added: 13th August, 2019 17:08 PM |
Views : 1945
When The Saints Go Marching In arranged for intermediate level solo piano or keyboard in the key of C. The challenge for the piano/keyboard player is Show More...
When The Saints Go Marching In arranged for intermediate level solo piano or keyboard in the key of C. The challenge for the piano/keyboard player is to keep the melody line singing out over the accompaniment. 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 keyboard player 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. Chords have also been indicated in the score as is the convention in popular music. Close
Added: 13th August, 2019 17:08 PM |
Views : 2022
When The Saints Go Marching In arranged for baritone 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 baritone 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 baritone part appropriately transposed is appended to the full score and there is a piano accomanpiment available. Close
Added: 13th August, 2019 16:08 PM |
Views : 2289
A movement from Schumann’s “Album for the Young” Opus 68 (1848) for improver level piano. The piano collection which was composed at a very happ Show More...
A movement from Schumann’s “Album for the Young” Opus 68 (1848) for improver level piano. The piano collection which was composed at a very happy time in his life has many delightful pieces of music to discover. The edited music score has clearly specified fingering. This is an excellent piece for developing a singing legato line in the left hand. The realization plays at a tempo of 110 quarter note beats (crotchet) to the minute. It is also the ideal movement for developing two important piano /keyboard techniques: i) slipping the thumb down from one note to another (bar 4 left hand) and also changing the finger on a note. Both techniques encourage good legato playing. Close
Added: 2nd August, 2019 12:08 PM |
Views : 3032
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played as a concert piece. The melody is Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played as a concert piece. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many also melodic variants as often is the case with folk music. Pianists need to aim for legato and singing tone and may wish to omit the small ornamental notes as they learn the piece. Close
Added: 25th July, 2019 17:07 PM |
Views : 2310
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembe Show More...
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembered particularly for his operas. His keyboard music is played on both the piano and the harpsichord and several pieces in more recent times have been transcribed for the classical guitar. The movement marked Adagio ma non troppo requires a legato touch while the realisation plays at a steady 42 quarter (crotchet) beats to the minute. The score has been prepared for performance on a piano and the ossia stave has an interpretation provided for the playing of the ornaments in bar 2 although there is option to modify these suggestions which possibly lack some rhythmic flexibility. The repeat of the ornaments in bar 15 should be played as in bar 2. Keyboard players need to have a keen awareness of the eighth note or quaver pulse when they are playing. The repetitive element in the music is strong whilst there is the opportunity to linger at the end of phrases but any exaggeration of the music whether in respect to rhythm, dynamic and melody needs to be avoided. The keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found in recordings are editorial. They are works with appeal and consistent in their quality. The composer’s music is deserving of more attention and the keyboard sonatas are excellent performance pieces. A plain music score is appended to the edited music score. Close
Added: 20th April, 2019 05:04 AM |
Views : 2374
This piece known as Evening in Transylvania and also Evening in the Village is from the composer’s piano collection Ten Easy Pieces. There are two Show More...
This piece known as Evening in Transylvania and also Evening in the Village 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 Bartok remains loyal to the principle of contrast in music exploring two different ideas. Bartok 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 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. Some pedalling has been indicated in the score but the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composers own time. Bartok considered the piano to be a percussion instrument and as a composer many of his folk music arrangements explore the modal element that is so characteristic of folk music and accompaniments make use of ostinatos. Much of his piano music was composed for teaching purposes and collections such as For Children and Mikrokosmos are well worth exploring. Bartok 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. Bartok 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. Close
Added: 25th March, 2019 11:03 AM |
Views : 2110
This charming and tuneful piece is from Tchaikovsky’s Children’s Album Opus 39 which dates from 1878. The first section is played at a tempo of 10 Show More...
This charming and tuneful piece is from Tchaikovsky’s Children’s Album Opus 39 which dates from 1878. The first section is played at a tempo of 100 quarter note (crotchet) beats to the minute and the faster section at 120 quarter note (crotchet) beats to the minute. The melodic line needs to clearly articulated and the accompaniment played with a lightness and bounce. The melody also features in Act 3 of the composer’s ballet Swan Lake. Close
Added: 18th March, 2019 13:03 PM |
Views : 2835
The Sonata in D by Mateo Albéniz is a binary form (AB) work that is essentially in 6/8 but explores the characteristic 3/4 v 6/8 rhythmic shapes of S Show More...
The Sonata in D by Mateo Albéniz is a binary form (AB) work that is essentially in 6/8 but explores the characteristic 3/4 v 6/8 rhythmic shapes of Spanish music. Often these are explored in adjoining bars and sometimes even in the same bar. It is music of joy and energy more baroque than classical as one would expect from a composer working at a distance from the main centres of European music. As a piano piece it does have something of the lightness of a Mozart movement but coloured with reference to the phyrgian mode that help give the music its Spanish character. The music editor prefers a consistent approach to the playing of the ornaments which have been written out in full in the score and a lightness of touch is essential if rhythmic accuracy is to be communicated. The realisation plays at a tempo of 124 dotted quarter (crotchet) notes to the minute and the repeats are played. Some score detail in respect to phrasing has been indicated in the edited music score whilst a plain score is also attached enabling to add score details as they wish. There are one or two alternative options indicated by the ossia staves and they are in place essentially to draw awareness to inconsistencies that exist in the score. In addition, the music editor could suggest that bars 9 and 13 be mirrored in the closing section at bar 85 and 90 although pianists play the music as notated in the score. Sometimes the left hand is required to play notes that have been notated in the treble clef. Keyboard players who do their listening research will discover that there are options as far as adding additional ornaments in their performances which is perfectly permissible in the repeat sections. Again as in most music of this time it is difficult to find two performers approaching the playing of ornaments in the same way. There are versions of this music for classical guitar and also harp. Close
Added: 3rd March, 2019 18:03 PM |
Views : 2182
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembe Show More...
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembered particularly for his operas. His keyboard music was played on both the piano and the harpsichord and several pieces have been transcribed for the classical guitar. This short movement requires a legato touch and the realisation plays at 42 dotted quarter (crotchet) beats to the minute. The ornaments are played quickly and start on the beat and whilst not indicated in the score some limited use of the sustaining pedal is suggested. From the performance point of view the rhythmic shape of the left hand part needs to be constant. The Siciliana rhythmic shape is best described as a slow lilting pattern in 6/8 or 12/8 time and has proved a popular template since baroque times. It can described as a slow jig. Cimarosa’s keyboard music is well worth investigating although his work still needs to be authenticated. The keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found in recordings are editorial. They are works with appeal and consistent in their quality. There is some suggested fingering on the edited music score whilst a plain score is also appended. Close
Added: 10th February, 2019 16:02 PM |
Views : 2352
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 music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino which may play either 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. Close
Added: 4th February, 2019 15:02 PM |
Views : 2163
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 the realisation 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 piano version in the key of F is is appended to the Eb score to encourage playing in a range of keys. Close
Added: 27th January, 2019 15:01 PM |
Views : 2537
One of the jewels of music originating as a guitar solo and composed in 1909 by the Mexican composer Manuel Ponce. This is simply beautiful music expl Show More...
One of the jewels of music originating as a guitar solo and composed in 1909 by the Mexican composer Manuel Ponce. This is simply beautiful music exploring the three in a bar, two in a bar rhythmic pattern so characteristicic of Spanish and South American music. Whilst the melody is predominantly diatonic the harmony is chromatic particularly at the start of the second section. The melodic line does need to predominate particularly in the chromatic section from bar 10. There are some ambiguities in the score in respect to tied notes although the music editor has been guided by the guitar copy of the score. The tempo of the realisation is 110 dotted quarter notes (crotchet) beats to the minute whilst there is opportunity for the tempo to ebb and flow as if the performance is being sung. Close
Added: 18th January, 2019 16:01 PM |
Views : 2847
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on lo Show More...
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep them fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged. The realisation of this two part version with letter names in the note heads plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail although this score has both letter names of the notes in the notepad and suggested finger to encourage the beginner/improver player to make rapid progress. Understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Close
Added: 17th December, 2018 10:12 AM |
Views : 2841
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on lo Show More...
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep them fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged. The realisation of this version with vamped chords as the accompaniment plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line in this version which has vamped chords to accompany the melody. Folk music scores are generally presented with minimal score detail although there is some suggested fingering for the player. Understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Close
Added: 17th December, 2018 09:12 AM |
Views : 2808
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on lo Show More...
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep them fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged. The realisation of this two part plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet fee as heard in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line in this two part version. Folk music scores are generally presented with minimal score detail although in this score there is some suggested fingering. Understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Close
Added: 17th December, 2018 09:12 AM |
Views : 1927
This is a very popular piece of music that in many respects transcends idiom, style & it could be suggested culture. This improver level arrangement s Show More...
This is a very popular piece of music that in many respects transcends idiom, style & it could be suggested culture. This improver level arrangement solo piano in G is in common time although some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary style. 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. This arrangement explores a gentle rock style whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar. Close
Added: 5th December, 2018 21:12 PM |
Views : 2741
This is a very popular piece of music that in many respects transcends idiom, style & it could be suggested culture. This improver level arrangement f Show More...
This is a very popular piece of music that in many respects transcends idiom, style & it could be suggested culture. This improver level arrangement for solo piano or keyboard in F is in common time although some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary style. 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. This arrangement explores a gentle rock style whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar. Close
Added: 5th December, 2018 21:12 PM |
Views : 2658
This is a piano arrangement based on the piano and SATB vocal arrangement of the complete version by the composer. The layout is intended to clarify t Show More...
This is a piano arrangement based on the piano and SATB vocal arrangement of the complete version by the composer. The layout is intended to clarify the voicing of the music. 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 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. One of the playing challenges is that the same note can be sounded in a different part. 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 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. Close
Added: 20th November, 2018 14:11 PM |
Views : 2439
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. There is no introduction in order to keep the phrase structure balanced. Close
Added: 6th November, 2018 15:11 PM |
Views : 2886
This is an intermediate level piano arrangement based on the piano and SATB vocal arrangement by the composer. The layout is intended to clarify the Show More...
This is an intermediate level piano arrangement based on the piano and SATB vocal arrangement by the composer. The layout is intended to clarify the voicing of the music. 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. One of the playing challenges is that the same note can be sounded in a different part. 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 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. Playing the first section from bar 1 – 42 ending on the chord at the beginning of bar 42 works well as a “short version” of the movement. Close
Added: 2nd November, 2018 13:11 PM |
Views : 2667
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 solo 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 81 and bar 149 start on the note. There is a further challenge in that a concert version of the piece can be readily sourced for those who like a real challenge. Close
Added: 12th October, 2018 14:10 PM |
Views : 2048
This music was composed in 1763 and anticipates particularly thematically and rhythmically musical directions later explored by Beethoven and others. Show More...
This music was composed in 1763 and anticipates particularly thematically and rhythmically musical directions later explored by Beethoven and others. Pianists need to approach playing this movement with clarity in their rhythmic intention and demonstrate an understanding of the context of the triplet figuration that dominates the movement. Whilst the realisation indicates the music editor’s intention as to how the music should be approached the piano touch could be on the lighter side and there could be a little more “ebb and flow” tempo wise in the cadenza like sections (bars 22-23, bars 55-56 & bars 78-79) and at cadences. Although the music texturally isn’t complicated, the piece is quite demanding to play in that a consistency of touch and articulation is required. The instrument needs to be played with a lightness of touch with the player intent upon communicating the beauty of the music. Understandably there is no evidence of performance practice from C.P.E Bach’s own time and the music editor suggests that it is quite possibly that approaches to playing of music from this period have changed over time. A tempo of 120 quarter note (crotchet) beats to the minute is used in the realisation. The music copy has been prepared with the modern piano intended as the performance instrument. Limited use of the sustaining pedal can be considered and ornaments need to be
played with a similar rhythmic clarity and an understanding of context. Not many people play C.P.E.Bach’s music which is a shame because he composed works of quality and he has an important position in music history linking the Baroque with the Classical era. Both Haydn and Beethoven were influenced by his compositional approach. The music editor also suggests listening to the available recordings of the work played on a variety of different keyboard instruments. Interestingly there are many different approaches to playing this piece particularly with respect to tempo and rhythmic interpretation. Some performers approach the piece as if it is a piece of classical music even suggesting tempos and a playing approach in the style and manner of playing a Beethoven piano sonata. Recordings also have different acoustic properties although many in the music editor’s opinion are much too reverberant and consequently “rather cloudy”. The challenge is to play the piece with the intention of revealing its beauty, its texture, it’s rhythmic intention and the composer’s individual style whilst acknowledging its historical context. Whilst the music, texturally, belongs to the baroque both thematically and rhythmically the musical content looks forward and anticipates much of the keyboard music style of Haydn and Beethoven. This is an ideal challenge for some test piece at a competition or music festival because it invites so many different approaches.
There is a commentary on how to play the ornaments in the score. Close
Added: 11th October, 2018 13:10 PM |
Views : 2958
A lovely piece by Bach to encourage legato playing.
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Added: 8th October, 2018 17:10 PM |
Views : 2394
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 the sections between bar 70 to 85 can be 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! Close
Added: 3rd October, 2018 12:10 PM |
Views : 2725
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 which is not indicated in the score. A tempo of 96 quarter note (crotchet) beats is used in the playback in this version which is in the key of D. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance. Close
Added: 2nd October, 2018 12:10 PM |
Views : 2017
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 which is not indicated in the score. A tempo of 96 quarter note (crotchet) beats is used in the playback in this version which is in the key of C. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance. Close
Added: 2nd October, 2018 12:10 PM |
Views : 2081
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 minute is used in the realisation of this intermediate level arrangement 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. The arrangement has been made with the intention of presenting the music as a concert piece for the intermediate player. Close
Added: 22nd September, 2018 07:09 AM |
Views : 2309
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 flute part with a number of octave transpositions allowing the soloist to keep within the range of the instrument is appended to the full score. Three piano accompaniments are available for this 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 07:06 AM |
Views : 2467
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 high quality and variety. A solo flute 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 85, 72 66, 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 07:06 AM |
Views : 2196
This movement is the third and last movement of a sonata published as part of a collection of harpsichord sonatas in 1742. Whilst there is evidence in Show More...
This movement is the third and last movement of a sonata published as part of a collection of harpsichord sonatas in 1742. Whilst there is evidence in the score of its harpsichord origins it is nevertheless a piece very suited to being performed on a modern piano. The counterpoint or combination of lines of music lines is a particularly strong element in the composition. A tempo of 132 quarter note (crotchet) beats to the minute is used in the realisation although a target of 120 quarter note (crotchet) beats to the minute is probably a fair target in the first instance. Contemporary performances of the piece generally have the first section repeated and the second section played without a repeat. There is quite an amount of dramatic tension in the music arising from the detached notes and the concise two bar phrasing suggesting at times an almost hushed urgency. The ornaments include trills which start on the note, crushed notes or acciaccaturas and the odd appoggiatura which have sometimes been written out as in bar 7. The ornaments in the section from bar 86 to 91 are best played as crushed notes giving the music a more classical spirit to it although in some scores they are notated as appoggiaturas. The music editor always references contemporary performance practice when preparing scores and favours crushed notes in this instance. As usual the music editor has been very consistent in his approach to ornamentation and advises players to keep matters as simple and straightforward as possible. Keep the trills metrical and the editor suggests that it is best to avoid a triplet ending to the trills although they are inclined to sneak in to ones playing almost unnoticed. Spread chords are a feature and some work is required to sort out the sharing of the work load between the two hands. This is an excellent example of music that is for want of a better description is pre-classical composed in the period between the baroque and classical era. C. P. E. Bach’s music is deserving of being played and listened to more regularly in what is one of the most interesting and fascinating times in music history. The music editor is keen to hear that this piece is being played and would value receiving feedback. Whilst a sheet music score has been prepared as if the piece is a classical work there is a plain score appended to the edited music score. Close
Added: 20th May, 2018 15:05 PM |
Views : 2825
A fugue is not strictly a musical form but more a compositional style in which the process of imitation dominates in voices or lines of music describe Show More...
A fugue is not strictly a musical form but more a compositional style in which the process of imitation dominates in voices or lines of music described as counterpoint. Understand that the musical conception is in lines. The realisation plays back at 100 dotted quarter notes to the minute. The music editor suggests that if you have the technique and composure try to get to 110 dotted quarter notes to the minute as the music then really does seem to come alive. The dynamic range of this work is very much determined by the texture which varies from a single voice to four voices in varying combinations. In music of this time the score detail tends to be quite minimal and this score keeps to that practice. Buxtehude’s position in music history has resulted in him being overshadowed by J. S. Bach but Buxtehude composed many fine keyboard works that transcribe well to the piano. This is an uplifting piece to both listen to and play having the rhythmic template of a jig and a “modern” sound attributable to the tonal ambiguities that result from the conflicting accidentals often in different lines of the music. For those interested in finding out more about this look up the term “false relation.” The subject entries need to be clearly articulated and a sense of forward movement needs to be communicated at all times by the piano/keyboard player.
In terms of the music setting there are some indications in the score as to which hand plays which line of the music and the player needs to have a clear understanding of the division of labour between the two hands. Ornaments do not feature in the score but can be added at the performers discretion once a clear understanding of the options have been appreciated from listening and analysing recordings and performances. Close
Added: 14th May, 2018 12:05 PM |
Views : 2925
A dramatic and spirited movement which whilst very different texturally to Beethoven’s music harmonically it does point in his direction. In charact Show More...
A dramatic and spirited movement which whilst very different texturally to Beethoven’s music harmonically it does point in his direction. In character the music is almost a conversational piece although formally it can be described as a rondo which is a piece with a recurring theme. The phrase structure is not particularly regular and there are several changes of mood in the various section although the main thematic motive is always clearly recognisable. The sheet music score has been prepared for the performance on the piano and only limited use of the sustaining pedal is suggested. For clarity the music editor suggests essentially the one ornament shape when performing the work which reflects current practice in the interpretation of music of this period. Too many different ornaments can be distracting both to the performer and listener alike. The opening ornaments are notated on ossia staves and the player should continue with the same shapes through the movement. The slight slowing down appropriate at the ends of the phrases are not marked in the score. There are recordings available of this work played on the modern piano, fortepiano and the harpsichord. C.P.E Bach was a prolific composer and an important transition figure in music history linking the baroque with the classical age in music history. He was very aware of contemporary practice and contributed much to developing style and form although at the same time he was able to remain surprisingly free spirited. C.P. Bach’s music is worthy of attention and for piano players there is a wealth of excellent music for the developing pianist. This work composed in 1786 and published in 1787 comes from period near the end of his life. Close
Added: 14th May, 2018 11:05 AM |
Views : 2855
J.C.F.Bach was the fourth and youngest composing son of J.S.Bach. Many songs in different languages have been based on this familiar French song know Show More...
J.C.F.Bach was the fourth and youngest composing son of J.S.Bach. Many songs in different languages have been based on this familiar French song known as "Ah! vous dirai-je, maman" including "Twinkle, Twinkle, Little Star" and "Baa, Baa, Black Sheep." These set of variations provide an excellent summary of keyboard technique available and used during the late baroque/ early classical period. The score has been prepared for performance on a modern piano. The pianist may want to add some sustaining pedal particularly in Variations 4, 8, 9 and 10 although pedal markings are not indicated in the score. The changing meters does add a complication as to how the bars of music are counted. Understand that each variation has its own tempo. When playing variations don’t think that all variations need to be played at the same tempo. The ornament used in this set of variations is an upper mordent comprising the note, the note above and then the note itself again. Most of the musical content is classical in spirit and the phrase structure is understandably symmetrical which makes it a good piece to memorise. The score also has some suggested fingering. The music editor suggests that when performing the variations it would good idea to choose a selection of the variations to play. Suggested performances patterns could be: Option 1 Theme + Var. 1 + Var. 2 + Var. 3 + Var. 4 + Var. 5 + Var. 9 and for Option 2 Theme + Var. 7 + Var. 8 + Var. 9 + Var. 10 + Var. 11 + Var. 12. Close
Added: 23rd April, 2018 08:04 AM |
Views : 3299
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 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 it intended to break a mood it is ideally placed as part of the repertoire in the PlentyMusic Café although there is also a version for piano duet / piano four hands on the website. 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. Close
Added: 23rd April, 2018 08:04 AM |
Views : 1982