España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for piano solo. One of the most familiar pieces of the Spanish Show More...
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for piano solo. One of the most familiar pieces of the Spanish repertoire this arrangement from PlentyMusic is now available to download.
The PlentyMusic sheet music video and realisation plays back at a tempo of 112 quarter note beats per minute. The tempo in the arrangement is constant. This is a performance piece that explores many of the extremes of music performance both from the dynamic and articulation points of view.
As a score reduction the piano arrangement is a challenge in that much of the intended musical content is omitted simply because of the limitation of the hands. Intended as an ensemble piece pianists should explore the music in an ensemble context when opportunities allow.
There are many arrangements of this music available from the PlentyMusic sheet music library combining many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using professionally engraved & prepared resources.
The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge.
Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the elements of the Spanish idiom and style.
The second section has an appealing syncopated melody with some lightening of the musical texture.
The solo line played needs to be played with confidence and accuracy. The melody is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach.
The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Martellato means strongly accented.
Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound.
This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed!
A great movement for both the player and the listener for its dramatic and musical qualities. The composition dates from 1923 and was recorded as early as 1926.
Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone). The cadences in Spanish music have a characteristic sound.
The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism.
The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. The conception of the dance is a re-imagining of the movements of the Spanish matador in the bull ring.
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España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for piano solo. One of the most familiar pieces of the Spanish repertoire this arrangement from PlentyMusic is now available to download. #sheetmusic: coming soon
The PlentyMusic sheet music video and realisation plays back at a tempo of 112 quarter note beats per minute. The tempo in the arrangement is constant.
As a score reduction the piano arrangement is a challenge in that much of the intended musical content is omitted simply because of the limitation of the hands. Intended as an ensemble piece pianists should explore the music in an ensemble context when opportunities allow.
There are many arrangements of this music available from the PlentyMusic sheet music library combining many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using professionally engraved & prepared resources.
The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge.
Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the elements of the Spanish idiom and style.
The second section has an appealing syncopated melody with some lightening of the musical texture.
The solo line played needs to be played with confidence and accuracy. The melody is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach.
The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Martellato means strongly accented.
Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound.
This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed!
A great movement for both the player and the listener for its dramatic and musical qualities. The composition dates from 1923 and was recorded as early as 1926.
Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone). The cadences in Spanish music have a characteristic sound.
The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism.
The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. The conception of the dance is a re-imagining of the movements of the Spanish matador in the bull ring. Close
Added: 11th April, 2025 07:04 AM |
Views : 208
Dainty Doll, by Bernard Barnes is a novelty piano solo, published in 1934. A movement full of charm it needs to be played in a swing style with a ligh Show More...
Dainty Doll, by Bernard Barnes is a novelty piano solo, published in 1934. A movement full of charm it needs to be played in a swing style with a light keyboard touch.
The realisation plays back at 120 quarter note beats (crotchet) to the minute. The same tempo is used in each of the sections in the realisation apart from bars the two bar link (bars 43 & 44) where the tempo has been deliberately slowed before the return of the A section.
Dainty Doll described as a Novelette dates from 1934. As a piano novelty solo played in a swing style some obvious ambiguities arise in terms of understanding the notation of the music.
The music needs to be played with a lightness in the hands and the melodic ideas need to be articulated clearly. The triplet pattern features continually despite the ambiguity of the notation.
While use of the sustaining pedal is recommended its use is not indicated in the music score.
Formally the music can be described as A B C A with the key plan being D G C D. 16 bar phrases are evident in the structure in each of the sections
Whilst there is a clear reference to the American march this is presented in an abridged form more suited to the performance of novelty piano music.
Barney Barnes is also fond of using a two bar link just before the return of the A section preparing the return to the home key of D.
The compositional style demonstrates many of the popular music cliches and formulas contemporary to the period of its writing.
The 2 bar unit is very much the building block in novelty pieces of music with each building block being part of a conversation very much like the question and answer phrase structure that is frequently described in classical music
A display of contrasting textures in each of the sections also tends to be evident. From the technical point of view novelty pieces certainly on the piano need to be understood as being advanced pieces and tempo instructions invariably should be interpreted as “play as fast as possible.”
Harmonically many seventh chords are in evidence and the cycle of fifths often with the addition of chromatic notes provides the framework.
Musicians will sense that this piece as is the case with much novelty music is suitable to be arranged for other instrument combinations because there are some evident accompaniment motives and the texture and pianistic writing suggests arrangement possibilities.
It is a pity that there isn’t more Bernard Barnes sheet music available because his compositional style has great charm and appeal.
As in much novelty piano music the interval of a fourth features in the melody line.
Novelty music is very much a chordal based often with a strong chromatic element.
The realisation plays back at 120 quarter note beats (crotchet) to the minute.
Repetition features strongly in the piece and the spread chords in the left hand are necessary enabling pianists to manage stretches.
Subtle changes of tempo do not feature in the realisation and generally music in this style needs to be played consistently with possibly some slowing down at the end of sections
Bernard Barnes 1892 -1947 was born in Worcester (modern day West Midlands) in the UK and moved to the USA is his youth settling in Seattle where he worked as a cinema organist becoming an American citizen in 1922. He is associated with a mode of music making familiarly referred to as “photoplay” that is music intended to be played for silent movies. His day job was playing largely improvised organ music to accompany silent movies.
In the video score some of the graphic score detail is hidden simply because it behaves inconsistently in this format.
The pianos of the novelty era tended to have lighter touches that those of modern instruments which partly explains tempos from archive recordings.
Certainly as a composer Barney Barnes is deserving of more attention and his popular piano novelties need to heard more often.
The early radio and recording years were wonderful times for piano playing with the majority of well trained classical musicians having to decide on whether to pursue a career on traditional paths or embrace the new idioms of radio, cinema and related popular music idioms. Close
Added: 29th September, 2024 16:09 PM |
Views : 732
Bernard Barnes 1892 -1947 was born in Worcester and moved to the USA is his youth settling in Seattle where he worked as a cinema organist becoming an Show More...
Bernard Barnes 1892 -1947 was born in Worcester and moved to the USA is his youth settling in Seattle where he worked as a cinema organist becoming an American citizen in 1922. He is associated with a mode of music making familiarly referred to as “photoplay” that is music intended to be played for silent movies.
Dainty Miss described as a Novelette dates from 1924. Whist a piano novelty solo played in a swing style there are recordings available where the music is arranged for Palm Court Orchestra.
The music needs to be played with a lightness in the hands and the melodic ideas need to be articulated clearly. It is quite a charming character piece that does not need to be played too quickly. The triplet pattern features continually despite the ambiguity of the notation. Crossing of hands (left over right hand feature in the second section of music which has the repeat. After the 16 bar trio section there is a two bar link leading to a reprise of the first section with a slightly different final cadence. The voice leading in bar 44 warrants some careful attention and possibly quite a bit of disagreement amongst piano players?
A tempo of between 55-60 half note or minim beats to the minute is suggested. While use of the sustaining pedal is recommended its use is not indicated in the music score.
The realisation plays back at 60 half note or minim beats to the minute. Close
Added: 9th September, 2024 15:09 PM |
Views : 425
Bubbling Over is a novelty piano solo by Carroll Gibbons published in 1937. The playback tempo of the realisation is 84 half note or minim beats to th Show More...
Bubbling Over is a novelty piano solo by Carroll Gibbons published in 1937. The playback tempo of the realisation is 84 half note or minim beats to the minute and 72 half note bpm in the section from bars 79 to 110. It is a movement that needs to be played in a swing style.
Carroll Gibbons was a wonderful musical talent and pianist kept busy at the Savoy Hotel in the war years. Broadcasting on a regular basis his playing is well documented in the recording sense although sadly not much of his piano music is available in print. Although American by birth he lived and worked in England.
The quality of his musicianship is down to a combination his wonderful knowledge of chords, a repertoire largely based on the songbooks of the 1930’s & 40’s combined with experience leading bands in his working years. For the enthusiast there is archive material to discover on Carroll Gibbons. His performances particularly of popular songs are well documented with many broadcasts and recordings of his music available on streaming media. He is associated with many of the finest artists of his day including the singers Anne Lenner and Hildegarde.
Pianists intending to play this particular piece well will need to have an excellent piano technique. Many of the techniques that feature in the popular piano styles of the 20th century can be identified in Bubbling Over. A light piano touch is needed and players need to play accurately and above all with rhythmic security and command. Gibbons is fond of using 2 bar links enabling him to change the mood and key in his music and there is an example of this from bar 77-78. Managing the weight in the hands is crucial in performing complex chordal music like this on a piano. It’s probably best to learn the movement as three separate sections and then perform the work as a whole. Careful attention needs to be paid to the note reading and the stretches in both hands need to be carefully managed. The swing style of playing requires the music to be performed with a triplet feel and this is not particularly well represented on the sheet music page with clarity. This is the reason why it is important and necessary for pianists to listen to Carroll Gibbons recordings playing his own music. The chromatic element in the writing is strong.
The pianos in England when this music was composed were often made by Challen which had quite a light touch.
Bubbling Over is described as a Foxtrot and has a sectional structure. After a 4 bar introduction there is a 35 bar A section in the key of D succeeded by a 32 bar B section in the key of F. After a two bar link this is followed by a 32 bar section in the key of G with the final section being a repeat of the opening Section A with the addition of a 6 bar coda. The A section is very typical of novelty music style whilst the B section is chordal in character. Section C features cross hand playing with the melody played in the tenor line with a bass line and off beat chords succeeded by the repetition of the A section and coda. His arrangements demonstrate a great awareness of harmonic colouring in both the choice of chords in the harmonic progression sense and the additional notes added to chords. Close
Added: 5th July, 2024 13:07 PM |
Views : 749
J.S. Zamecnik’s Polly a noveltypiano solo was published in 1926. A lively movement it need to be played in a swing style.
The novelty pianists we Show More...
J.S. Zamecnik’s Polly a noveltypiano solo was published in 1926. A lively movement it need to be played in a swing style.
The novelty pianists were unique musicians and performers generally possessing great keyboard technique and frequently were well trained musicians. They were attracted to playing music in the popular popular music style pretty much established by Scott Joplin and others in the ragtime era.
Whilst the realisation plays back at 66 half note or minim beats to the minute the movement can and is often played much faster.
In the video score some of the score detail has been hidden because graphics behave inconsistently in this format.
The conventions used in the notation of swing music are confusing but it is communicating the swing style element that is important. The triplet pattern is the key rhythmic element.
Novelty pieces were generally composed in American March form.
Where novelty pianists and composers are particularly inventive is in their choices of rhythmic shapes and the clarity in the harmonic journey and direction of their music.
John Stepan Zamecnik had a successful career as a composer of music for film or more accurately silent films commonly referred to as photoplay music. As a composer he frequently used pseudonms, Whilst American by birth he studied music in Prague with Dvorak in the mid 1890's. Much of his working life was spent in the city of Cleveland. Close
Added: 4th June, 2024 13:06 PM |
Views : 779
Summer Rain by Carroll Gibbons, is an advanced level novelty piano solo, composed in 1937. The realisation plays back at 84 half note or minim beats Show More...
Summer Rain by Carroll Gibbons, is an advanced level novelty piano solo, composed in 1937. The realisation plays back at 84 half note or minim beats in the swing triplet sections and 64 half note or minim beats in all the straight slower section.
Swing playing involves playing the eighth notes or quavers in a triplet pattern or context. The swing aspect to the piano playing means that the music has to be approached with a lightness in the hands and arms. In novelty piano music the full range of the 88 note piano keyboard is often explored.
The music editor suggests learning this piece in sections subsequently playing whole phrases and sections. The tempo instruction is essentially “play the music as fast as you dare.”
The left hand stretches from bar 10 need to be managed by rolling the hand left to right so that the notes sound using a technique borrowed from the contemporary stride piano era. At bar 20 the music editor suggests that the reverse process is in place in that the rolling effect this time is from right to left. Appreciate that the notation of music in all its idioms and styles is sometimes challenging and ambiguous to understand.
The 8 bar introduction is played in a straight rhythm. The section from bar 9 to bar 68 is played in a swing style meaning that the music needs to be played with a triplet feel. This is followed by a 4 bar link in straight rhythm preceding a slower section from bar 73 to bar 104 also played without a swing feel. The final section from bar 104 to 144 is again in a swing style returning to the idiom and style of bars 6-65. In context this final section is best considered as a play out quite relevant in the broadcasting of music at the time. The sections played in a swing style need to be approached with a lightness in the hands and stretches need to be managed and practiced. The writing is pianistic meaning that the chord choices and voicing are playable. The chromatic element is also strong. Take note of the tempo changes and dynamic markings because they certainly assist in making a performance manageable.
The use of the sustaining pedal is essential when performing this style of music composed at a time when there were many fine piano manufacturers were in business in the UK.
The music editor has not been able to source as many recordings of this novelty piece as he anticipated in the preparation of the score. Additionally there is the suggestion that the notated copy of Summer Rain is very much a musical sketch. Interpret some or all of the “sketch” as you wish.
Novelty pianists in the 1920 and 1930’s were generally well trained musicians who decided on a career choice to play, arrange and compose music in the many popular music idioms and styles that emerged in the 1920’s and 30’s. Broadcast opportunities, the recording and film industries also provided additional incentives and motivation.
Playing through the repertoire of this great period of song writing 1920- 1940’s enabled GIbbons and other contemporary pianists to acquire a unique knowledge of chords and harmonic options and choices available when it came to composing their own music.
Carroll Gibbons was a most gifted pianist although other novelty pianists and composers have left more extensive legacies of notated and published music.
Carroll Gibbons was an exceptional music performer and he left a rich recording legacy although sadly only a few instrumental pieces were published for piano.
The strength of Gibbon’s writing is in the inventiveness of both the rhythmic and melodic elements combined with a nuanced choice of chords. The fully voiced chord choices in the piano writing more than suggest his background as a band leader.
His piano touch and technique were unique – he was a quite exceptional musical leader and performer.
Carroll Gibbons, although born in America, became a London based pianist and band leader working at the Savoy Hotel and leading the Savoy Opheans. He worked for HMV as Director of Light Music and recorded extensively with a small combo group known as Carroll Gibbons and his Boyfriends. The recording legacy of popular songs of the day features singers Anne Lenner and Hildegarde. He was a wonderful pianist and there are a few clips of his playing can be seen on YouTube. Close
Added: 23rd May, 2024 10:05 AM |
Views : 726
Moonbeams Dance by Carroll Gibbons needs to be played in a swing style meaning that a triplet feel needs to be communicated in performances of the mus Show More...
Moonbeams Dance by Carroll Gibbons needs to be played in a swing style meaning that a triplet feel needs to be communicated in performances of the music. Novelty piano succeeded the ragtime era of the early 20th century. The realisation plays back at a tempo of 110 bpm.
Much novelty music was written for the piano and many of the pianists were simply wizards in terms of their skill at playing the instrument. That said there is a strong repetitive element in the musical style which enable challenges to be managed. There are many technical challenges to manage when playing this movement and they can be mastered if each is identified and practiced methodically whilst retaining a lightness in the hands.
The music editor deliberately avoids putting more than one articulation marking on a note.
The rôle of the left hand is to essentially play the bass and accompanying chords.
The left hand stretches often involve leaps of a tenth and more and in this respect there is a connection with stride piano which is a related style also emerging from ragtime piano.
Novelty piano music tends to be played at a fast tempo. The 110 quarter note beats to the minute tempo in the sheet music video score is, the music editor suggests, a rather cautious tempo.
Carroll Gibbons was a American pianist, composer and band leader largely remembered for his recordings and performances in London during the 1930’s & 1940’s.
A wonderful piano player there are a few video clips available on YouTube that can be viewed to observe the great facility and technique that he possessed.
The music combines bass & chord with an inventive and energetic melody line.
The musical ideas and figuration that feature in Moonbeams Dance are understandably pianistic and fourths are a strong feature in the repeating A section.
The phrase structure generally refences the characteristic 8 bar patterns typical of music from the dance band era with which Carroll Gibbons was closely associated.
A knowledge of chords and how they are described is a requirement playing this and many other popular music styles. The chromatic element is also quite strong.
The sectional form of the movement can be summarised as follows: Intro A B A C D A Coda Close
Added: 11th May, 2024 09:05 AM |
Views : 872
Nola by Felix Arndt dates from 1915. It is frequently referred to as the first novelty piano piece, a musical idiom emerging from the #ragtime era. Li Show More...
Nola by Felix Arndt dates from 1915. It is frequently referred to as the first novelty piano piece, a musical idiom emerging from the #ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit.
Nola needs to be played in a swing style simply meaning that the triplet figuration prevails.
Arndt was a New York based composer and pianist who died during the Spanish Flu epidemic in 1919.
Sections need to be played at the same tempo and there is little opportunity for slowing down at the end of phrases and sections.
Some of the score detail, particularly phrase markings have been hidden in the sheetmusic video score simply because the associated graphics behave inconsistently in this format.
This is music that moves along quickly but also needs to played in a completely relaxed manner. Tension in the fingers, hands and arms is something to be avoided and this can be partly achieved by keeping a lightness in the hands and arms and secure fingering. Fingers need to be close to the keys.
Nola is brimming with musical ideas and inventiveness and is a very “modern” sounding work for 1915. As a musical snapshot of its time it references the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms.
The left hand playing style of the bass and chords owes its origins to the ragtime era.
Contrasting and repeating sections are in evidence whilst the formal pattern of the music is A B A C D C A with an 8 bar coda at the end. The composer does not make use of repeat signs. The key plan can be summarised as D – D minor – D – G - D
Novelty piano music has a strong connection with ragtime particularly in its formal patterns and shapes.
Whilst the repetitive element is strong the composer does not make use of repeat signs. Close
Added: 17th April, 2024 10:04 AM |
Views : 927
This is a stunning piece and often played as an encore. There are many fine performances of this work some of them taken at speeds that could be descr Show More...
This is a stunning piece and often played as an encore. There are many fine performances of this work some of them taken at speeds that could be described as frightening. For the sake of clarity in communication the sheet music score is the same as the realisation or playback score. A plain score is also appended to the edited music score. This work needs to be played with the fingers close to the keys control and a light touch as many notes are played staccatissimo and the changing fingers on a note technique will need to be used. Where appropriate look for opportunities to use sequential fingering. The cadences can and should be played with more fluidity than is demonstrated in the realisation particularly if additional ornaments are added in the repeats. A tempo of 76 dotted quarter notes to the minute is used in the realisation and the work should be played with a one in the bar feel. If you can manage a tempo of 80 dotted quarter notes to the minute then music does really come alive
The advice on playing the ornaments is to be consistent, maintain rhythmic symmetry and explore options in the repeat sections. The music editor has yet to find two performers who have the same or at least a similar approach to the playing of the ornaments and suggests that players should listen to various performances of the work.
Padre Antonio Soler was a Spanish Catalan composer whose work belongs to the late Baroque and early Classical times. His best known works are his one movement sonatas which show the influenced by Domenico Scarlatti. Soler also took Holy Orders in his early 20’s and working at the monastery known as EL Escorial near to Madrid in Spain combining his duties as a monk with composition and teaching. His music was catalogued by Rubio early in the 20th century. This music is played on the harpsichord and piano whilst there are arrangements of this sonata for the harp and classical guitar. Close
Added: 13th December, 2019 12:12 PM |
Views : 2418
This prelude possibly dates from 1730 and is composed in four voices or lines of music with some sections having all voices sounding, whilst in others Show More...
This prelude possibly dates from 1730 and is composed in four voices or lines of music with some sections having all voices sounding, whilst in others three and sometimes only two. It opens with a section that is almost vocal in character before it transforms into a keyboard piece. There are no ornaments indicated in the score although there is an extraordinary amount of detail in the rhythmic figuration. The B section which begins at Bar 29 has some almost toccata like shapes whilst a four octave range is explored in the keyboard writing. The tempo of the realisation and playback is 72 quarter note beats to the minute and the repeats are not played. The repeat bar is indicated by a double bar at the end of bar 28 and there is also one at the end of the final bar in the sheet music score. One challenge for the performer is communicating the layers and lines that exist in the music with an awareness of an eighth note or quaver pulse. Another is to play the movement at a tempo that is appropriate and which can be maintained for the whole movement. Some of the figuration in the score can be a challenge to play if the tempo is too fast.
The piece can be performed AB, AAB and even AABB the latter making it quite a long piece. The music editor when learning the movement started with the final section bars 41-56, before playing bars 29-56 and then the piece as a whole. The specified fingering is appropriate for someone who can manage a reach of a 9th with both hands. A plain score is also appended to the edited music score. Close
Added: 13th December, 2019 10:12 AM |
Views : 2383
Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement with syncopated shapes that needs to be played at a consistent Show More...
Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement with syncopated shapes that needs to be played at a consistent tempo. This is the piano version in its original key with the realisation playing at a tempo of 92 quarter note or crotchet beats to the minute. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. Close
Added: 12th December, 2019 09:12 AM |
Views : 2278
An arrangement by the composer for solo piano of this charming character piece. This movement is in ABA ternary form with the A section playing back a Show More...
An arrangement by the composer for solo piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. Close
Added: 5th December, 2019 12:12 PM |
Views : 2317
This is a piano arrangement based on the piano and SATB vocal arrangement of the complete version by the composer. The layout is intended to clarify t Show More...
This is a piano arrangement based on the piano and SATB vocal arrangement of the complete version by the composer. The layout is intended to clarify the voicing of the music. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 84 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the E# beginning and ending with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. One of the playing challenges is that the same note can be sounded in a different part. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. This is an excellent piece for exploring the tonal range of the piano but avoid playing the quieter sections too loudly. Close
Added: 20th November, 2018 14:11 PM |
Views : 2674
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the ag Show More...
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for solo piano the playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 81 and bar 149 start on the note. There is a further challenge in that a concert version of the piece can be readily sourced for those who like a real challenge. Close
Added: 12th October, 2018 14:10 PM |
Views : 2264
This music was composed in 1763 and anticipates particularly thematically and rhythmically musical directions later explored by Beethoven and others. Show More...
This music was composed in 1763 and anticipates particularly thematically and rhythmically musical directions later explored by Beethoven and others. Pianists need to approach playing this movement with clarity in their rhythmic intention and demonstrate an understanding of the context of the triplet figuration that dominates the movement. Whilst the realisation indicates the music editor’s intention as to how the music should be approached the piano touch could be on the lighter side and there could be a little more “ebb and flow” tempo wise in the cadenza like sections (bars 22-23, bars 55-56 & bars 78-79) and at cadences. Although the music texturally isn’t complicated, the piece is quite demanding to play in that a consistency of touch and articulation is required. The instrument needs to be played with a lightness of touch with the player intent upon communicating the beauty of the music. Understandably there is no evidence of performance practice from C.P.E Bach’s own time and the music editor suggests that it is quite possibly that approaches to playing of music from this period have changed over time. A tempo of 120 quarter note (crotchet) beats to the minute is used in the realisation. The music copy has been prepared with the modern piano intended as the performance instrument. Limited use of the sustaining pedal can be considered and ornaments need to be
played with a similar rhythmic clarity and an understanding of context. Not many people play C.P.E.Bach’s music which is a shame because he composed works of quality and he has an important position in music history linking the Baroque with the Classical era. Both Haydn and Beethoven were influenced by his compositional approach. The music editor also suggests listening to the available recordings of the work played on a variety of different keyboard instruments. Interestingly there are many different approaches to playing this piece particularly with respect to tempo and rhythmic interpretation. Some performers approach the piece as if it is a piece of classical music even suggesting tempos and a playing approach in the style and manner of playing a Beethoven piano sonata. Recordings also have different acoustic properties although many in the music editor’s opinion are much too reverberant and consequently “rather cloudy”. The challenge is to play the piece with the intention of revealing its beauty, its texture, it’s rhythmic intention and the composer’s individual style whilst acknowledging its historical context. Whilst the music, texturally, belongs to the baroque both thematically and rhythmically the musical content looks forward and anticipates much of the keyboard music style of Haydn and Beethoven. This is an ideal challenge for some test piece at a competition or music festival because it invites so many different approaches.
There is a commentary on how to play the ornaments in the score. Close
Added: 11th October, 2018 13:10 PM |
Views : 3225
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and the sections between bar 70 to 85 can be omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! Close
Added: 3rd October, 2018 12:10 PM |
Views : 2991
Johann Christian Bach (1735-1782) is often referred to as the "London Bach" and important because he influenced Mozart's concerto style and is identif Show More...
Johann Christian Bach (1735-1782) is often referred to as the "London Bach" and important because he influenced Mozart's concerto style and is identified with the musical style known as "style galant." His keyboard music was generally performed on the fortepiano and there are recordings available of this sonata played on the harpsichord, clavichord, fortepiano and modern piano. The music copy is prepared the sonata to be played on a modern piano although the music editor does suggest listening to recordings of performances on other keyboard instruments. of the sustaining pedal can be considered particularly in the chordal sections although this has not been indicated in the score.
This is one of a number of excellent and appealing pieces for the intermediate level pianist/keyboard player ensuring that a basic skill set is in place for the developing player. A tempo from 100 to 110 quarter note beats to the minute is suggested and 110 quarter note beats to the minute has been used in the realisation with the repeats not being played.
Ornaments need to be played rhythmically and consistently although the music editor suggests leaving them out in the early stages of learning the piece. Trills do vary in length according to their context. The right and left hand parts are not always rhythmically independent - in passages where there are triplets the trills need to be adjusted so that there is a some sharing of the overall dominating rhythmic pattern. The score detail in respect to this is clearly indicated. Close
Added: 29th January, 2018 12:01 PM |
Views : 3180
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the strong melodic element in this miniature explores quite a melodic range. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal although this has not been marked in the score. Pianists and keyboard players will need to spend time analysing the musical texture to understand which notes belong to which musical line of which there are three - melody, harmony and an ostinato accompaniment. This is the original version of the work in the original key of B flat minor. Close
Added: 13th December, 2017 21:12 PM |
Views : 2387
This is the original piano version of the “Easy Winners” and the tempo in the realisation is 76 quarter note (crotchet) beats to the minute whilst Show More...
This is the original piano version of the “Easy Winners” and the tempo in the realisation is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note (crotchet) beats to the minute sounds fast. The view of the music editor is to play the piece at the slowest tempo musically possible whilst at the same time exploring the musical shapes which the realisation does rather inadequately. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises during repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented by letters as: I AA BB AA CC DD. Pianists also need to explore the ensemble options that exist with this piece that can be found on this website. Close
Added: 20th November, 2017 16:11 PM |
Views : 2961
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 60 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. Most of the musical content from the guitar duet version remains although some voicing has been made made more appropriate for the piano. There are no repeats in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 2455
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic Show More...
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that feature in this appealing work. Close
Added: 27th July, 2017 11:07 AM |
Views : 2179
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement altho Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar.†Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. In this piano arrangement some voicing and octave changes have been made to add clarity and generally make the texture more pianistic and whilst not marked on the score copy the sustaining pedal should be used. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. Close
Added: 27th July, 2017 11:07 AM |
Views : 2661
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A familiar AB binary movement 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 familiar AB binary movement described as a toccata which originally were touch pieces intended to be used to tune the instrument but in time they became formalised into movements aimed at developing keyboard technique. Each part of the AB form is further divided into contrasting sections which need to be exploited tonally in a performance. The realisation is played at a tempo of 88 dotted eighth notes (quaver) to the minute and the movement needs to be played with a sense of one to a bar. The sounds of the guitar are imitated in the rolling chords played by the left hand with intervals of the fourth (as a guitar is tuned) and the repeating notes (tremolo) played by the right hand. Whilst the repetitive element is strong the sonata is imbued with modal shifts and figurations imitating Spanish music. It is essential that the right hand fingers are close to the keys and that the left hand spread chords are played percussively. Some limited use of the sustaining pedal (quick quarter pedalling) to give the left hand chords some extra resonance is recommended although no sustaining pedalling has been added in the realisation. It would be wise to listen to different performances of the sonata to understand the different approaches made by players particularly in respect to the weight applied from the hands and the range of articulations used in expressing the musical content. There is some suggested fingering in the edited music score and the sonata first needs to be practiced at slow speeds to ensure accuracy. The ornamentation is straight forward as is usually the case in fast tempo works one although there are choices in respect to the playing of appoggiaturas at the end of sections. The realisation a little rushed at the end of phrases and sections. In the hands of a gifted musician and artist with exceptional technique this can be an exhilerating and quite mesmerising piece. A plain score is also appended to the edited music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3017
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very pianistic keyboard sona 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 very pianistic keyboard sonata providing excellent opportunities for developing left hand over right hand playing technique. The work has a largely two part texture after short four part passages at the opening of the two sections. A tempo of 110 quarter note (crotchet beats) to the minutes is suggested - it is important that the chosen tempo enables the harmonic direction to be communicated. Fingers need to be kept close to the keys and little use of the sustaining pedal is advised whilst a legato playing approach is needed. There is a also more scope for developing the dynamic range than is presented in the realisation. The first page of edited music score does unfortunately look rather busy.At bar 29 note stems up are played by the right hand and note stems pointing downwards by the left hand. In a performance it it important to give shape to the motives. Close
Added: 27th July, 2017 11:07 AM |
Views : 2590
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A tempo of 120 half not Show More...
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A tempo of 120 half note (minim beats) to the minute is recommended for playing this movement. Imitation is a strong feature and a lightness of touch is required in the playing approach dictated essentially by the fast tempo. The music lines are rhythmically quite intricate and there is an additional challenge in achieving a satisfactory dynamic balance between the two hands. Some use of the sustaining is suggested at bar 10 and additionally when there are long bass notes although no pedal markings are indicated in the score. The playing of a rit.(slowing down) at the end of the end of the two sections does not seem appropriate in a performance. The modal shifts that feature in the melody line and the rhythmic detail suggest references to the music of Spain. The challenge in playing this keyboard sonata is to articulate clearly every note clearly at the suggested tempo. Close
Added: 27th July, 2017 11:07 AM |
Views : 3111
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. Appended to this is a p Show More...
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. Appended to this is a plain score which the performer can choose to use once the piece has been studied. This keyboard sonata provides excellent opportunities for developing left hand over right hand playing technique. The work has a largely two part texture after short four part passages at the opening of the two sections. A tempo of 110 quarter note (crotchet beats) to the minutes is suggested - it is important that the chosen tempo enables the harmonic direction to be communicated. Fingers need to be kept close to the keys and little use of the sustaining pedal is advised whilst a legato playing approach is needed. There is also more scope for developing the dynamic range than is presented in the realisation. The first page of edited music score does unfortunately look rather busy. At bar 29 note stems up are played by the right hand and note stems pointing downwards by the left hand. In a performance it it important to give shape to the motives. Close
Added: 27th July, 2017 11:07 AM |
Views : 3289
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A tempo of 120 h 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. A tempo of 120 half note (minim beats) to the minute is recommended for playing this movement. Imitation is a strong feature and a lightness of touch is required in the playing approach dictated essentially by the fast tempo. The music lines are rhythmically quite intricate and there is an additional challenge in achieving a satisfactory dynamic balance between the two hands. Some use of the sustaining is suggested at bar 10 and additionally when there are long bass notes although no pedal markings are indicated in the score. The playing of a rit.(slowing down) at the end of the end of the two sections does not seem appropriate in a performance. The modal shifts that feature in the melody line and the rhythmic detail suggests references to the music of Spain. The challenge in playing this keyboard sonata is to articulate every note clearly at the suggested tempo. Close
Added: 27th July, 2017 11:07 AM |
Views : 3508
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A familiar AB bi 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. A familiar AB binary movement described as a toccata which originally intended as tuning pieces although in time they became formalised into movements aimed at developing keyboard technique. Each part of the AB form is further divided into contrasting sections which need to be exploited tonally in a performance. The realisation is played at a tempo of 88 dotted eighth notes (quaver) to the minute and the movement needs to be played with a sense of one to a bar. The sounds of the guitar are imitated in the rolling chords played by the left hand with intervals of the fourth (as a guitar is tuned) and the repeating notes (tremolo) played by the right hand. Whilst the repetitive element is strong the sonata is imbued with modal shifts and figurations imitating Spanish music. It is essential that the right hand fingers are close to the keys and that the left hand spread chords are played percussively. Some limited use of the sustaining pedal (quick quarter pedalling ) to give the left hand chords some extra resonance is recommended although no sustaining pedalling has been added in the realisation. It would be wise to listen to different performances of the sonata to understand the different approaches made by players particularly in respect to the weight applied from the hands and the range of articulations used in expressing the musical content. There is some suggested fingering in the edited music score and the sonata first needs to be practiced at slow speeds to ensure accuracy. The ornamentation is straight forward as is usually the case in fast tempo works one although there are choices in respect to the playing of appoggiaturas at the end of sections. The realisation a little rushed at the end of phrases and sections. In the hands of a gifted musician and artist with exceptional technique this can be an exhilerating and quite mesmerising piece. Close
Added: 27th July, 2017 11:07 AM |
Views : 3059
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A very pianistic 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. A very pianistic keyboard sonata providing excellent opportunities for developing left hand over right hand playing technique. The work has a largely two part texture after short four part passages at the opening of the two sections. A tempo of 110 quarter note (crotchet beats) to the minutes is suggested – it is important that the chosen tempo enables the harmonic direction to be communicated. Fingers need to be kept close to the keys and little use of the sustaining pedal is advised whilst a legato playing approach is needed. There is a also more scope for developing the dynamic range than is presented in the realisation. The first page of edited music score does unfortunately look rather on the busy side. At bar 29 note stems up are played by the right hand and note stems pointing downwards by the left hand. In a performance it it important to give shape to the motives. Close
Added: 27th July, 2017 11:07 AM |
Views : 2808
The Little Shepherd from Debussy's Children's Corner Suite" is one of the composer's easier pieces although it does offer similar challenges to thos Show More...
The Little Shepherd from Debussy's Children's Corner Suite" is one of the composer's easier pieces although it does offer similar challenges to those encountered in his more complex works. His music whilst often sounding simple is always challenging from a performance point of view and there are many aspects of performance to consider when playing his music - namely attention to rhythmic detail, tempo, dynamic range, use of pedals, interpretation of ornaments, amongst others. The piano suite was published in 1908 and is dedicated to the composer's daughter Chou-Chou and whilst the score detail is in French, the choice of English titles was chosen to possibly reflect that an English governess was employed to look after his child. The realisation which communicates the musical content satisfactorily does lack fluidity in repect to tempo. Debussy's sound world is individual and while he was not someone who followed musical convention, he, more than any other composer at the end of the 19th century pushed open the door to absorb the new musical influences of the 20th century. The music editor suggests istening to several performances of the work to gain an understanding of how best to approach a performance. Close
Added: 27th July, 2017 11:07 AM |
Views : 2313
This work dates from 1798 and is identified with Beethoven's so called early period and is the third movement of his Sonata No. 5 in C minor Opus 10 N Show More...
This work dates from 1798 and is identified with Beethoven's so called early period and is the third movement of his Sonata No. 5 in C minor Opus 10 No.1. It is the most difficult work to be included in this area of study and has been chosen because it is an example of a sonata form work. It is, however, a very concise movement especially when compared to the sonata form movements of the composers so called middle and late periods. Nevertheless, it demonstrates the essential features of his compositional style and has many of the challenges that arise in performing his music from both technical and musical points of view. In contemporary music performance practice the first section expositions are generally not repeated and I would advise against too much use of the sustaining pedal. It is necessary to understand that exploring the principle of contrast was an essential feature of music composed in the classical era in terms of themes and keys very often in the context of a sonata form movement. The realisation does lack the flexibility and nuance associated with a true performance particularly at the ends of phrases and possibly more could be made of the pause marks. The score copy has recommended fingering. Close
Added: 27th July, 2017 11:07 AM |
Views : 2901
This is the last movement of Haydn's Piano Sonata in D (Hob XVI:37). It is in rondo form (ABACA) with each section in binary form. The repeat signs in Show More...
This is the last movement of Haydn's Piano Sonata in D (Hob XVI:37). It is in rondo form (ABACA) with each section in binary form. The repeat signs in the sections bar 40 - 60 are optional. Ornaments have been written out in the score and are realised in the sound file and a tempo of at least 132 quarter note beats to the minute is recommended. Fingering is clearly specified and in the first instance I would suggest a consistent approach to playing the ornaments. A fairly dry acoustic is required and I would advise against too much use of the sustaining pedal. A convincing performance requires a light pianistic touch with the fingers kept really close to the piano keys. There is a a decrescendo at bar 90 but no rit. or slowing down. Sometimes the numbering of Haydn's keyboard sonatas appears confused but always refer to the Hoboken catalogue number for clarity. I would suggest listening to performances of this movement by some of the many excellent pianist that have made recordings. Close
Added: 27th July, 2017 11:07 AM |
Views : 2773
This is the piano version composed in 1905 and dedicated to the composer's younger brother. A tempo in the range of 84-90 quarter note (crotchet) bea Show More...
This is the piano version composed in 1905 and dedicated to the composer's younger brother. A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments. The clarity of line in his musical textures is a strong feature of his compositional style. The title, Escovado, is a common slang term which means smart or cunning and it became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 2471
Nazareth (1863 -1934) was a Brazilian composer and pianist whose compositional style absorbs many different influences Brazilian, European, African an Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. This is the original piano version although I would suggest that pianists listen to different arrangements and performances of the piece. Close
Added: 27th July, 2017 11:07 AM |
Views : 2473
This is the full version of Mozart's Rondo Alla turka. One of the the most immediately recognisable and popular pieces of music in the repetoire wheth Show More...
This is the full version of Mozart's Rondo Alla turka. One of the the most immediately recognisable and popular pieces of music in the repetoire whether played on the piano or by other instruments. It is a very adaptable piece stylistically and in the repetoire of classical musicians, folk bands, jazz groups and café style ensembles. A piece with many repeating sections making it from a concentration point of view quite difficult to perform. It was Mozart himself who titled the piece Alla turca (Turkish March) as the music was intended to imitate the sounds of the instruments in the then familiar Turkish military bands. Understood to have been composed in 1783, a tempo in the range 110-120 quarter note (crotchet) beats to the minute is suggested and little use of sustaining pedal is advised although it can be used more readily in the coda or closing section. Close
Added: 27th July, 2017 11:07 AM |
Views : 2272
This is Joplin's piano original of The Entertainer which he described as A Rag Time Two Step. Composed in 1902, this music is instantly recognisable, Show More...
This is Joplin's piano original of The Entertainer which he described as A Rag Time Two Step. 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 the music editor suggests 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 recommended. Ragtime music is deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 2352
This is Satie's original version of the march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm which was Show More...
This is Satie's original version of the march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise humorous piece dating from 1904. Close
Added: 27th July, 2017 11:07 AM |
Views : 2308
