This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase requi Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase requiring a singing legato tone when performed. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a plain music score is appended to the edited music score. Some suggested pedalling has been indicated in the A section. The music editor suggests changing the sustaining pedal as the harmony changes and avoids its use in the B middle section.
Usinging the thumb to play two notes and changing the finger on a note are two techniques that can be used when playing the movement. Whilst this is a fairly straightforward movement there is some subtle compositional detail relating to the chromatic lines. The Opus 39 Album for the Young is a collection of 24 piano pieces that capture the compositional style of the Tchaikovsky at a playable level. Close
Added: 1st October, 2025 07:10 AM |
Views : 1099
L'Arabesque is a work from Burgmuller's Opus 100 collection. In the key of A minor it combines a chordal accompaniment with right hand figuration. It Show More...
L'Arabesque is a work from Burgmuller's Opus 100 collection. In the key of A minor it combines a chordal accompaniment with right hand figuration. It is quite a dramatic movement requiring light hands in the playing approach. Repeats are in place in the music score and should be used in performances to encourage good practice and the development of a secure musical memory. Burgmuller utilises a wide range of the keyboard The realisation plays back at 132 quarter note (crotchet) beats to the minute and the score tempo marking is Allegro scherzando. Scherzando is an Italian term meaning playful, joking or light hearted. Friedrich Burgmuller 1806-1874 was a German pianist and composer identified with the romantic period in music history known particularly for his Opus 100 teaching pieces - 25 Easy and Progressive Studies. The Burgmuller Opus 100 collection contains music that is relatively easy to play embracing many of the composition models in place during the 19th century. This is a time in music history when most homes would have had a piano in the household. The instrument was studied and taught widely. Burgmuller demonstrates a gift for embracing many musical and stylistic elements into piano miniatures that are excellent practice and performance material for the improver level pianist stepping up to the intermediate and more advanced levels. Close
Added: 27th September, 2025 08:09 AM |
Views : 987
The Ballade from the Opus 100 collection is a dramatic work in ternary ABA form. In the key of C minor it is an excellent performance piece for those Show More...
The Ballade from the Opus 100 collection is a dramatic work in ternary ABA form. In the key of C minor it is an excellent performance piece for those engaged in the process of acquiring a secure keyboard technique. Practicing the PlentyMusic C minor improver technical drills would be excellent preparation for playing this piece.
The improver realisation plays back at a modest 84 dotted quarter notes (crotchet) beats 84 to the minute although the recommended tempo marking is nearer the 100 dotted quarter notes to the minute.
This is an excellent composition to develop performance skills as it is pianistic and offers some flexibility as to how it can successfully be played from the tempo, articulation and dynamics point of view. In the sheet music video score the music editor advises that some of the graphics relating to the score detail behave rather unpredictably in this format.
Friedrich Burgmuller 1806-1874 was a German pianist and composer identified with the romantic period in music history known particularly for his Opus 100 teaching pieces - 25 Easy and Progressive Studies. The Burgmuller Opus 100 collection contains music that is relatively easy to play embracing many of the composition models in place during the 19th century. This is a time in music history when most homes would have had a piano in the household. The instrument was studied and taught widely. Burgmuller demonstrates a gift for embracing many musical and stylistic elements into piano miniatures that are excellent practice and performance material for the improver level pianist stepping up to the intermediate and more advanced levels. Close
Added: 25th September, 2025 11:09 AM |
Views : 1044
The Tarantella from Burgmuller's Opus 100 collection has a sectional structure with a strong repetitive element. Composed in D minor in 6/8 time the t Show More...
The Tarantella from Burgmuller's Opus 100 collection has a sectional structure with a strong repetitive element. Composed in D minor in 6/8 time the tempo indication is Allegro vivo. The form of the movement could be summarised as being Intro A B A C A Coda. The C middle section is in the tonic major key D major.
Crushed note or acciaccaturas feature in the D major section – these are notes played quickly before the main note which is played on the beat.
The realisation plays back at 132 dotted quarter appropriate for an improver level keyboard player although there is scope to play it faster.
The edited music score has score detail in place.
Players will need to approach this movement with a lightness in the hands which will need to be kept close to the keys.
There is quite a bit of contrast in the movement both as far a playing touch and dynamics are concerned.
It is an appealing attractive work exploring the full range of the piano.
Friedich Burgmuller 1806-1874 was a German pianist and composer identified with the romantic period in music history known particularly for his Opus 100 teaching pieces - 25 Easy and Progressive Studies. Although German born he became Paris based from 1832.
The Burgmuller Opus 100 collection contains music that is relatively easy to play embracing many of the composition models in place during the 19th century. This is a time in music history when most homes would have had a piano in place in the household. The instrument was studied widely at all playing levels and Burgmuller demonstrated a gift for embracing many musical and stylistic elements into piano miniatures of quality that are excellent practice and performance material for the improving pianist. Close
Added: 17th September, 2025 07:09 AM |
Views : 1012
The A minor arpeggio presented as a #practicedrill or warm up where keyboard & #piano players can #play-a-long & accompany a #backingtracks. Improver Show More...
The A minor arpeggio presented as a #practicedrill or warm up where keyboard & #piano players can #play-a-long & accompany a #backingtracks. Improver level arpeggios involve two octave playing. #sheetmusic link:
The A minor arpeggio presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany a backing tracks. Improver level arpeggios involve two octave playing.
Don’t be alone when playing in the TechZone (Technical Practice Routines) is a PlentyMusic message.
Download mp3’s to a mobile phone, tablet or desktop to improve music practice routines or just playback directly from the website.
The accompaniment tracks have a range of tempo from 48 to 132 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 three times with a 3 beat gap between each playing. This is indicated by the sound of a woodblock.
Do make sure that breathing is relaxed & controlled 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, (ACE) first (CEA) and second inversion (ECA) 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 3
Left hand one octave X 3
Right and left hands together one octave in similar motion X 3
Root position chord arpeggios are followed by first inversions and then second inversions.
Do keep to the specified fingering although a on occasions there are options.
Remember that in a sitting position the level of the keyboard should be 72.5cms above floor level.
At the improver level the arpeggios should be played evenly & smoothly (legato). Close
Added: 3rd September, 2025 18:09 PM |
Views : 1410
An uplifting two part piano / keyboard arrangement of the Giga from Corelli’s Opus 5 Violin Sonata No.9. In 12/8 time the piece does need to be play Show More...
An uplifting two part piano / keyboard arrangement of the Giga from Corelli’s Opus 5 Violin Sonata No.9. In 12/8 time the piece does need to be played with energy and a suggested tempo of 108 dotted quarter notes (crotchet) beats to the minute is suggested and has been used in the realisation. Repeats are indicated in the score but have not been used in the realisation.
There is some score detail in the sheet music download although this is not a usual feature of baroque music scores. Use of the sustaining pedal is suggested although its use is not indicated in the music score. Playing the A major scale and arpeggios would be good preparation for playing this work.
The arrangement very much keeps to the composer’s intention in terms of the melodic and bass writing. There are some beautiful shapes to play and there is a considerable amount of sequential writing. Ornaments have been written out simply to add clarity to the score.
What the music editor particularly likes about this movement is its contemporary appeal and its suitability to be played by many different combinations of instruments.
As a performance piece it has clear intention and direction
Corelli 1653 – 1713 was a Rome based composer and violinist identified with the middle baroque period in music history. Corelli did not publish a great amount of music but he was meticulous in his compositional approach. The twelve violin sonatas in the Opus 5 collection were published in 1700. Close
Added: 12th August, 2025 06:08 AM |
Views : 1209
The D minor arpeggio presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany a backing tracks. Improver le Show More...
The D minor arpeggio presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany a backing tracks. Improver level arpeggios involve two octave playing.
Download mp3’s to a mobile phone, tablet or desktop to improve music practice routines.
The accompaniment tracks have a range of tempo from 48 to132 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.
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 three times with a 3 beat gap between each playing. This is indicated by the sound of a woodblock. The key signature for Dm 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, (DFA) first (FAD) and second inversion (ADF) 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 3
Left hand one octave X 3
Right and left hands together one octave in similar motion X 3
Root position chord arpeggios are followed by first inversions and then second inversions.
Do keep to the specified fingering although a on occasions there are options.
Remember that in a sitting position the level of the keyboard should be 72.5cms above floor level.
At the improver level the arpeggios should be played evenly & smoothly (legato). Close
Added: 9th August, 2025 17:08 PM |
Views : 1606
The E minor arpeggio presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany a backing tracks. Improver le Show More...
The E minor arpeggio presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany a backing tracks. Improver level arpeggios involve two octave playing.
Download mp3’s to a mobile phone, tablet or desktop to improve music practice routines.
The accompaniment tracks have a range of tempo from 48 to132 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.
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 three times with a 3 beat gap between each playing. This is indicated by the sound of a woodblock. The key signature for Em 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, (EGB) first (BEG) and second inversion (BEG) 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 3
Left hand one octave X 3
Right and left hands together one octave in similar motion X 3
Root position chord arpeggios are followed by first inversions and then second inversions.
Do keep to the specified fingering although a on occasions there are options.
Remember that in a sitting position the level of the keyboard should be 72.5cms above floor level.
At the improver level the arpeggios should be played evenly & smoothly (legato). Close
Added: 1st August, 2025 06:08 AM |
Views : 1706
The G major arpeggio presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany a backing tracks. Improver l Show More...
The G major arpeggio presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany a backing tracks. Improver level arpeggios involve two octave playing.
Download mp3’s to a mobile phone, tablet or desktop to improve music practice routines.
The accompaniment tracks have a range of tempo from 48 to120 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.
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 three times 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 3
Left hand one octave X 3
Right and left hands together one octave in similar motion X 3
Root position chord arpeggios are followed by first inversions and then second inversions.
Do keep to the specified fingering although a on occasions there are options.
Remember that in a sitting position the level of the keyboard should be 72.5cms above floor level.
At the improver level the arpeggios should be played evenly & smoothly (legato). Close
Added: 24th July, 2025 08:07 AM |
Views : 2260
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 : 2697
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 : 2966
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 : 2690
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 : 2542
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 : 2464
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 : 2556
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 : 2453
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 : 2790
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 : 2425
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 : 2635
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 : 2391
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 : 2940
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 : 3004
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 : 3356
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 : 2792
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 : 3490
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 : 3411
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 : 3141
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 : 3328
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 : 3271
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 : 3587
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 : 3995
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 : 3605
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 : 3991
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 : 4172
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 : 5625
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 : 6451
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 : 5347
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 : 5432
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 : 4803
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 : 4772
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 : 4930
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 : 5299
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 : 3651
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 : 3944
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 : 5197
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 : 3556
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 : 4768
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 : 4097
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 : 4022
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 : 3941
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 : 4255
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fost Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster’s own lifetime. A version by the violinist Heifetz became very popular in the 1940’s. The musical arrangement retains the harmonic outline of Stephen Foster’s song although some of the rhythmic detail of the melody has been edited. The context of the song is actually very sad in that it was written when Foster was estranged from his wife. The arrangement comprises an introduction of 4 bars, a verse of 16 bars , a link of 4 bars and repeat of the verse and with a closing section or coda. Keyboard players should be aiming for a fine legato singing tone in their playing keeping to the editorial suggestions and detail. It is very easy to underestimate the musicality of Foster’s songs and his contribution to early American music. A plain score is appended to the edited music score. copyright law was in place in the USA from 1831 although it is fairly evident that Stephen Foster did not make very much money from his songs. Close
Added: 27th July, 2017 11:07 AM |
Views : 3103
A short but quite charming piece from the composer's Opus 1 collection originally composed for piano. The tempo of the realisation is 62 quarter note Show More...
A short but quite charming piece from the composer's Opus 1 collection originally composed for piano. The tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period or nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 3656
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A reflective keyboard sonata p Show More...
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A reflective keyboard sonata played at a slow tempo and is described as an aria which is a word for song. Understandably the melody needs to be articulated as if it is being sung. The realisation does lack the flexibility of a performance and has the repeats played although it is only in the repeat section that the ornaments are sounded. The music editor suggests adopting a similar approach. The main ornament in the movement is a short trill of 4 short notes beginning on the upper note. The trill symbol has been used at the two main cadential points giving the player scope to increase the number of notes although the trill still begins on the upper note. As a piece with a slow tempo it invites some reinvention in terms of the ornamentation and it would be well worth listening to some of the available recordings to understand how to approach this aspect of a performance. It is a sonata with scope for a performer to improvise. No pedalling has been written into the score although some use of it is recommended. Many performers spread some of the chords in the left hand to imitate the strumming sound a guitar. This choice of playing the chords in this way is left to the discretion of the player. Close
Added: 27th July, 2017 11:07 AM |
Views : 4025
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wha Show More...
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (what you see is what you hear) version often in a reduced format. This is a reflective keyboard sonata played at a slow tempo and is described as an aria which is a word for song. Understandably the melody needs to be articulated as if it is being sung. The realisation does lack the flexibility of a performance and has the repeats played although it is only in the repeat section that the ornaments are sounded. I would suggest in the early stages of learning the piece that a player adopts a similar approach. Understand that the main ornament in the movement is a short trill of 4 short notes beginning on the upper note. The trill symbol has been used at the two main cadential points giving the player scope to increase the number of notes although the trill still begins on the upper note. As a piece with a slow tempo it invites some reinvention in terms of the ornamentation and it would be well worth listening to some of the available recordings to understand how to approach this aspect of a performance. It is a sonata with scope for a performer to improvise. No pedalling has been written into the score although some use of it is recommended. Many performers spread some of the chords in the left hand to imitate the strumming sound a guitar. This choice of playing the chords iin this way is left to the discretion of the player. Close
Added: 27th July, 2017 11:07 AM |
Views : 3646
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. This is a reflec Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. This is a reflective keyboard sonata played at a slow tempo and is described as an aria which is a word for song. Understandably the melody needs to be articulated as if it is being sung. The realisation does lack the flexibility of a performance and has the repeats played although it is only in the repeat section that the ornaments are sounded. I would suggest in the early stages of learning the piece that a player adopts a similar approach. Understand that the main ornament in the movement is a short trill of 4 short notes beginning on the upper note. The trill symbol has been used at the two main cadential points giving the player scope to increase the number of notes although the trill still begins on the upper note. As a piece with a slow tempo it invites some reinvention in terms of the ornamentation and it would be well worth listening to some of the available recordings to understand how to approach this aspect of a performance. It is a sonata with scope for a performer to improvise. No pedalling has been written into the score although some use of it is recommended. Many performers spread some of the chords in the left hand to imitate the strumming sound a guitar. This choice of playing the chords iin this way is left to the discretion of the player. Close
Added: 27th July, 2017 11:07 AM |
Views : 3582
A very familiar piece composed by a very young Mozart. This improver level score has specified fingering to assist the player. The minuet is a dance w Show More...
A very familiar piece composed by a very young Mozart. This improver level score has specified fingering to assist the player. The minuet is a dance with three beats to the bar although when learnt it is best played with a one in a bar feel. Mozart's example is of a simply structured binary form movement although when the form was later expanded it became important as one of the movements incorporated into the Classical symphony. The K numbers associated with Mozart scores refers to the Köchel or catalogue numbers that describe the chronologically order of his compositions. This catalogue was created some fifty years after the composers death and K2 understandably is his second published work composed when he was 6. Close
Added: 27th July, 2017 11:07 AM |
Views : 4349
A very familiar piano piece familiarly known as “Für Elise” and sometimes described as Bagatelle in A minor WoO 59 although it is actually in ron Show More...
A very familiar piano piece familiarly known as “Für Elise” and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo form. This is one of Beethoven’s most popular pieces, in the key of A minor in 3/8 time The realisation plays back at 54 dotted quarter note (crotchet) beats to the minute. This is a shortened version including just the first section of the work. The sustaining pedal should be used sparingly. The realisation lacks flexibility and the “give and take” needed in a convincing performance. Interestingly it is a piece that was not published until 40 years after the composer’s death. As a familiar piece with some sections invitingly straightforward to play it is a piece that is frequently played badly! Counting the beats to the bar particularly in the tricky octave sections is essential if the timing is to be accurate. Beethoven is a composer who expanded the musical forms of the classical period. He also links the classical age with the subsequent romantic age. As a composer he was especially interested in process. Close
Added: 27th July, 2017 11:07 AM |
Views : 4757
A very familiar piano piece familiarly known as Für Elise and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo for Show More...
A very familiar piano piece familiarly known as Für Elise and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo form. This is a shortened version of just the first section of the work. The sustaining pedal should be used sparingly. The realisation lacks flexibility and the give and take needed for a convincing performance. Interestingly it is a piece that was not published until 40 years after the composer's death. As a familiar piece with some sections invitingly straightforward to play it is a piece that is frequently played badly! Counting the beats to the bar particularly in the tricky octave sections is essential if the timing is to be accurate. This is given a beginner level format but clearly at improver level in standard. Close
Added: 27th July, 2017 11:07 AM |
Views : 5291
This is shortened version of Mozart’s “Alla turca” in an arrangement for improver keyboard having specified fingering marked on the score. It sh Show More...
This is shortened version of Mozart’s “Alla turca” in an arrangement for improver keyboard having specified fingering marked on the score. It should be an easy piece to learn in that it one of the most immediately recognisable and popular pieces of music in the repertoire. It was Mozart himself who titled the piece “Alla turca” (Turkish March) as the music was intended to imitate the sounds of the instruments in the then familiar Turkish military bands. Understood to have been composed in 1783, a tempo in the range 110 – 120 quarter note (crotchet) beats to the minute is suggested and little use of sustaining pedal is advised although it can be used more readily in the coda or closing section. The realisation plays back at 112 quarter note beats per minute and the ornaments have been written out on an ossia staff to add clarity to the score. Close
Added: 27th July, 2017 11:07 AM |
Views : 4567
This is shortened version of Mozart's Alla turca arranged for beginner keyboard and having the letter names of the notes in the note heads and specif Show More...
This is shortened version of Mozart's Alla turca arranged for beginner keyboard and having the letter names of the notes in the note heads and specified fingering. It is intended as a transition piece intended to help keyboard and piano players to progress quickly from beginner to improver level. It should be an easy piece to learn in that it one of the the most immediately recognisable and popular pieces of music in the repetoire. Understand that this is an improver level arrangement with beginner assist! Close
Added: 27th July, 2017 11:07 AM |
Views : 4734
A concise pianistic movement in binary form selected for this collection to encourage fast playing. Players may wish to substitute alternative fingeri Show More...
A concise pianistic movement in binary form selected for this collection to encourage fast playing. Players may wish to substitute alternative fingering. A tempo range of 80-84 dotted quarter note beats to the bar is recommended - the realisation is 80 dotted quarter (crotchet) notes to the bar. Once the music has been studied and learnt players should perform the piece communicating a one beat one in a bar feel. The keyboard sonatas of Haydn, whilst not as familiar as Mozart's and Beethoven's, offer rich pianistic treasures and are well worth exploring. His 50 plus keyboard sonatas were composed between the 1750's and the 1790's during the period when the piano became the most popular keyboard instrument. Close
Added: 27th July, 2017 11:07 AM |
Views : 3995
Another movement from the rich treasure trove of Clementi's Opus 36 Sonatina's for piano. This is a slow Andante movement having a legato melody accom Show More...
Another movement from the rich treasure trove of Clementi's Opus 36 Sonatina's for piano. This is a slow Andante movement having a legato melody accompanied by a triplets. Ornaments have been written out and the score detail includes specified fingering. A tempo of 54 quarter (crotchet) note beats to the minute is suggested and the music editor advises minimal use of the sustaining pedal. Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishing and the manufacture of pianos. His sonatinas are well known attractive pieces especially suited to the improver level player. He was one of the first composers to create works specifically written for the piano. Close
Added: 27th July, 2017 11:07 AM |
Views : 5316
This improver version features the only first minuet of Boccherini's Minuet and Trio from his String Quintet Opus 11 No.5. In this two part arrangemen Show More...
This improver version features the only first minuet of Boccherini's Minuet and Trio from his String Quintet Opus 11 No.5. In this two part arrangement for piano/keyboard the musical texture has been simplified into melody and accompaniment. Fingering is clearly marked in the score along with other score detail and the ornaments have been written out in full, in an ossia staff, to assist players. I would suggest that they are perhaps omitted in the early stages of learning the piece. This movement requires a lightness of touch and above all a very consistent approach which will be a challenge to players inexperienced in performing music from this era. A tempo of 100 quarter note (crotchet) beats to the minute is recommended and minimal use of the sustaining pedal encouraging a dry acoustic. Close
Added: 27th July, 2017 11:07 AM |
Views : 4375
This is a very attractive piece which has in the recent past been used as the basis for a pop tune. It was composed by Clementi who was known in his o Show More...
This is a very attractive piece which has in the recent past been used as the basis for a pop tune. It was composed by Clementi who was known in his own time as a teacher, composer, performer and even as a manufacturer of pianos spending most of his adult life living in England. His Opus 36 Sonatinas are excellent pieces for improver pianists and keyboard players. Performance detail including specified fingering is marked in this score and a tempo of 120 quarter note (crotchet) beats to the minute is suggested and used in the realization. A rondo is a piece with a recurring theme. As a relatively fast piece a light playing touch will be needed. Close
Added: 27th July, 2017 11:07 AM |
Views : 5031
A very appealing and familiar movement from the treasure trove of Beethoven's works WoO (Without Opus number) Originally composed for orchestra, the m Show More...
A very appealing and familiar movement from the treasure trove of Beethoven's works WoO (Without Opus number) Originally composed for orchestra, the manuscript was lost and the music has essentially been reconstructed from a piano arrangement. It is an excellent piece for improver (second year) player and this version for solo piano has the right and left hand fingering clearly specified. In performance the Minuet is played with repeats followed by the Trio section marked più mosso again with repeats. Finally, the first Minuet is repeated but this time without repeats. A rit. (slowing down) at the end of the two main sections (minuet and trio) is appropriate. The music editor urges those auditioning this piece to listen to many performances featuring different soloists get a clear vision of how the movement can and should be played. It is a Beethoven piece that frequently is played badly. A tempo of 110 quarter note (crotchet) beats to the minute is suggested for the first Minuet section and a tempo of 120 quarter note (crotchet) beats to the minute is suggested for the Trio section marked più mosso. Notes need to be clearly articulated and remember that the movement is full of humour and character. A plain score is appended to the edited music score. This score was reviewed and revised in 2020. Close
Added: 27th July, 2017 11:07 AM |
Views : 4986
A movement taken from one of Beethoven’s Sonatina’s for piano that are catalogued in the appendix of his compositional output. This Sonatina being Show More...
A movement taken from one of Beethoven’s Sonatina’s for piano that are catalogued in the appendix of his compositional output. This Sonatina being Anh.5 No.1. This is a charming piece of music in 6/8 time and is suited to being played by a number of different instrument combinations although its origins are as a piano piece. A tempo of 66 dotted quarter beats to the minute is recommended and performance detail has been added to the score and fingering is clearly specified. Possibly more could have been made more of the pause marks in the realisation. A sonatina is literally a small sonata derived from a word sonare that implies something to be sounded or played. Close
Added: 27th July, 2017 11:07 AM |
Views : 5895
Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishin Show More...
Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishing and the manufacturer of pianos. His sonatinas are well known attractive pieces especially suited to the beginner player. This particular piece has been selected to encourage fast playing and in the piano copy suggested fingering is clearly indicated in the score. Players will need to keep their fingers close to keys to achieve a tempo of 72 dotted quarter note (crotchet) beats to the minute as in the realisation. Vivace is Italian for lively. Close
Added: 27th July, 2017 11:07 AM |
Views : 5792
This is a two part arrangement for piano/keyboard of this familiar piece from the string quartet repertoire. The music possesses classical beauty and Show More...
This is a two part arrangement for piano/keyboard of this familiar piece from the string quartet repertoire. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The music in the movement does sound easy to play although there are challenges in playing music of this era well and musically. In performance, the articulation of the notes needs to be consistent - the melody is to be played legato (Andante Cantabile) and the accompaniment staccato or at least in a detached manner. A tempo of 90 quarter note (crotchet) beats to the bar is suggested. The repeats do not play in the realisations and in a performance are probably not needed. The sheet music score has suggested fingering is in place. An ideal concert item because the music epitomises and breathes the spirit of classical music although surprisingly not composed by one of the famous and familiar classical composers.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. The melody can be played with some differences to the phrasing and articulations indicated and suggested in the score. The ornaments, acciaccaturas (crushed notes) which are always a confusing element in music performance are probably best omitted in the early stages of playing the movement. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. There is also a strong repetitive element that requires music to played with 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. The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic score the appoggiaturas (leaning notes) have been notated as they are to be played while the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. Roman Hoffstetter, the composer of this music, was interestingly a Benedicine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. This PlentyMusic score was reviewed in 2023. Close
Added: 27th July, 2017 11:07 AM |
Views : 4347
This is an arrangement for piano of Beethoven's Variations on a Swiss Air WoO 64. It is an excellent piece enabling players to identify many of the st Show More...
This is an arrangement for piano of Beethoven's Variations on a Swiss Air WoO 64. It is an excellent piece enabling players to identify many of the stylistic elements that feature in Beethoven's compositions. The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations although variations 2 & 3 need to be played at a slightly slower tempo. The score is provided with prerformance detail including fingering. A high improver level arrangement. Close
Added: 27th July, 2017 11:07 AM |
Views : 4134
An arrangement piano and/or keyboard of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the be Show More...
An arrangement piano and/or keyboard of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of F. Close
Added: 27th July, 2017 11:07 AM |
Views : 3649
In this improver version for solo piano or keyboard the 8 bar melody first played with the bass outline and is then repeated first with a simple vampe Show More...
In this improver version for solo piano or keyboard the 8 bar melody first played with the bass outline and is then repeated first with a simple vamped chord accompaniment and then with a an accompaniment where the accompaniment changes with each beat. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended and is used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3807
An arrangement of this ragtime waltz for piano or keyboard. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the Show More...
An arrangement of this ragtime waltz for piano or keyboard. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. In this version the right hand plays the melody whist the left hand either plays either in octaves or vamped chords. Specified fingering is also clearly indicated in the score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3674
In this improver level arrangement the right hand plays the outline melody accompanied by the left hand playing chords. Fingering is specified and pla Show More...
In this improver level arrangement the right hand plays the outline melody accompanied by the left hand playing chords. Fingering is specified and players are helped by graphics to show which notes are to be played for the chords. When chords are subsequently repeated only the chord symbol is given. This is a cut down version omitting the final two sections of the Trio. Described as a "Rag Time Two Step" and composed in 1902, this music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. A tempo of around 72 quarter note (crotchet) beats to the minute is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 3723
This very popular tango dates from 1903 and is probably quite a challenge for an improver level piano/keyboard player. A tempo of 60-66 quarter note Show More...
This very popular tango dates from 1903 and is probably quite a challenge for an improver level piano/keyboard player. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. The English translation of El Choclo is the "The Ear of Corn". Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3792
This arrangement is for improver piano in the key of C. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody Show More...
This arrangement is for improver piano in the key of C. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3269
This is the piano version of the prelude in the key of C minor although its origins are as a lute piece. Right and left hand fingering is specified an Show More...
This is the piano version of the prelude in the key of C minor although its origins are as a lute piece. Right and left hand fingering is specified and some score detail is given. The chordal element of this piece relates well to the modern musical ear whilst the movement was popularised by Segovia's solo guitar playing in the 1960's. This movement has to be rhythmically secure - it is very easy to play the movement either too quickly or too slowly and deciding on an appropriate tempo can be quite a performance challenge. Close
Added: 27th July, 2017 11:07 AM |
Views : 3482
In this version the ornaments have been written out in full above the symbols and also realised in the playback version. In baroque music performers o Show More...
In this version the ornaments have been written out in full above the symbols and also realised in the playback version. In baroque music performers often vary the ornaments in the repeat sections but this is not advised for this particilar movement. Close
Added: 27th July, 2017 11:07 AM |
Views : 3455
Much can be learnt from music of the past in the playing sense and Jesu, Joy in 8 is an excellent example.
This a shortened version of J.S. Bach’s Show More...
Much can be learnt from music of the past in the playing sense and Jesu, Joy in 8 is an excellent example.
This a shortened version of J.S. Bach’s “Jesu, Joy of man’s desiring” presented as a piano solo in a 2/3 part texture but referencing in the rhythmic sense a popular music idiom that originates from the recent rock music idiom.
The 8/8 rhythmic pattern with rhythmic division being 3+3+2 is very much a 20th century popular music invention but can be both learnt and applied beautifully with Bach’s Jesu, Joy.
Keyboard players need to play with a legato touch and follow the suggested editorial detail presented in the score.
Making music easy is one of PlentyMusic’s principles and the suggestion is that you can learn music from the past is one that needs to be appreciated by all musicians.
In the pdf download a plain score is appended to the edited music score.
J.S. Bach was not only a great composer and musician but probably one of the best teachers ever producing along with other members of his family and friends some of the finest collections of music for teaching purposes that could ever be imagined. Amongst J.S.Bach’s family there were 4 composing sons all writing music that linked the baroque with the classical period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 4818
A rhythmic variant of this familiar movement in 7/8 time which could be readily adapted and played by several different instrument combinations. Bach' Show More...
A rhythmic variant of this familiar movement in 7/8 time which could be readily adapted and played by several different instrument combinations. Bach's music readily invites reinvention of this kind and playing music with asymmetrical rhythms is excellent preparation for playing music in other idioms. Close
Added: 27th July, 2017 11:07 AM |
Views : 3642
A shortened version of this familiar piece arranged for for piano /keyboard with the right and left hand fingering clearly specified. This two part ve Show More...
A shortened version of this familiar piece arranged for for piano /keyboard with the right and left hand fingering clearly specified. This two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and needs to be played fluently with a legato touch. Close
Added: 27th July, 2017 11:07 AM |
Views : 3704
A piano / keyboard arrangement of this dance movement with the letter names of the notes appearing in the noteheads and the right and left hand finger Show More...
A piano / keyboard arrangement of this dance movement with the letter names of the notes appearing in the noteheads and the right and left hand fingering clearly specified. This particular bourrée should not be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The musical lines are of equal performance and technical difficulty and for this reason this is an excellent training piece for the fingers. The repeats do sound in the realisation Close
Added: 27th July, 2017 11:07 AM |
Views : 3716
A haunting piece in the key of G minor often associated and played with the Minuet in G BWV App 114. The right hand and left hand fingering is clearly Show More...
A haunting piece in the key of G minor often associated and played with the Minuet in G BWV App 114. The right hand and left hand fingering is clearly specified. Avoid adding the ornamentation until the playing is secure. Close
Added: 27th July, 2017 11:07 AM |
Views : 3537
A lively and versatile though short piece by one of J.S. Bach's 4 composing sons. Competent playing of this music will require a secure playing techni Show More...
A lively and versatile though short piece by one of J.S. Bach's 4 composing sons. Competent playing of this music will require a secure playing technique and makes it an ideal performance piece.
Typically a march is in 2/2 time and played briskly. The playback tempo in this score is 84 half note or minim beats to the minute.
This March can be found in Bach’s family collection of music Anna Magdalena Bach Notebook which appeared in 1725. One of the challenges of the time was that music was frequently copied by hand and frequently it led to the wrong composer being identified as the source of a work.
Editorial detail is in place for this short concise movement.
All J.S Bach’s composing sons were taught by him and intestingly due to geography, age and different stylistic influences enjoyed different careers.
The whole family is worthy of study not just the father. Close
Added: 27th July, 2017 11:07 AM |
Views : 3475
A beautiful melancholy movement suited to being played by a number of different instrument combinations. This version for keyboard has the letter name Show More...
A beautiful melancholy movement suited to being played by a number of different instrument combinations. This version for keyboard has the letter names of the notes written in the note heads. Whilst the music has been attributed to J.S.Bach the composer is unknown. Close
Added: 27th July, 2017 11:07 AM |
Views : 3424
A lively piece with strong repetitive elements. This version has the letter names of the notes written in the note heads to encourage the learning of Show More...
A lively piece with strong repetitive elements. This version has the letter names of the notes written in the note heads to encourage the learning of the position of notes in the treble and bass staves. Close
Added: 27th July, 2017 11:07 AM |
Views : 3330
