In this arrangement of Tico-Tico for mandolin and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. The appended parts for both mandolin and acoustic guitar have TAB charts to support the conventionally notated copy. This syncopated piece is structured into three sections and can be represented formally as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Accompaniments featuring the acoustic guitar can be downloaded as mp3 files playing at (1) 80 (2) 84 (3) 88 quarter note (crotchet) beats to the minute.
In this arrangement of Tico-Tico for mandolin and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. This syncopated piece is structured into three sections and can be represented formally as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Both players are required to play from the full score. Accompaniments featuring the acoustic guitar can be downloaded as mp3 files playing at (1) 80 (2) 84 (3) 88 quarter note (crotchet) beats to the minute.
In this arrangement of Tico-Tico for marimba and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. The appended part for the acoustic guitar also has a TAB chart to support the conventionally notated copy. The piece is structured into three sections and formally can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version and is a piece that has travelled widely in various formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Accompaniments featuring the acoustic guitar can be downloaded as mp3 files playing at (1) 80 (2) 84 (3) 88 quarter note (crotchet) beats to the minute.
In this arrangement of Tico-Tico for marimba and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. This syncopated piece is structured into three sections which can be represented formally as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Both players are required to play from the full score. Accompaniments featuring the acoustic guitar can be downloaded as mp3 files playing at (1) 80 (2) 84 (3) 88 quarter note (crotchet) beats to the minute.
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most familiar of Latin American melodies. The waltz is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at a tempo of 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A flute part is appended to the full score and the sounding key is Bb. Piano accompaniments are available as an mp3 download at tempi of (1) 56 (2) 58 and (3) 60 dotted half note (minim) beats to the minute.
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most well known Latin American pieces. The waltz melody is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs and was used for the song "The Loveliest Night of the Year" from the MGM film "The Great Caruso." This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation which features two marimbas playsback at 60 dotted half note (minim) beats to the minute and pitched percussion players need to communicate a one to the bar feel in their playing. Piano accompaniments are available as an mp3 download at tempi of (1) 56 (2) 58 and (3) 60 dotted half note (minim) beats to the minute.
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
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most well known Latin American pieces. The waltz melody is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs and was used for the song "The Loveliest Night of the Year" from the MGM film "The Great Caruso." This improver level (second year player) movement is a two part version. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. The movement is in ternary form.
Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. For the pianist the challenge is to communicate the melody of the song with as much of the intended accompaniment as possible. In the transcription there has been some necessary editing of the chords and the technique of crossing hands will need to be explored by the keyboard player to ensure legato playing of the melody. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which the pianist will need to take into consideration during a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. Pianists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Songs are understandably often arranged in different keys and two versions are available in the pdf download the first in Eb and the second in D.
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for flute accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the flute player to develop both control and quality of tone in their playing. The accompaniment comprising marimba and acoustic guitar with off-beat or syncopated chords adds both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece.
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for oboe accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the oboe player to develop both control and quality of tone in their playing. The accompaniment comprises marimba and acoustic guitar with off-beat or syncopated chords adds both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece.
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the violin player to develop both control and quality of tone in their playing. The accompaniment comprises marimba and acoustic guitar with off-beat or syncopated chords adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece.
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for viola accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the viola player to develop both control and quality of tone in their playing. The accompaniment comprises marimba and acoustic guitar with off-beat or syncopated chords adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute as an mp3 download. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece.
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the soloist to develop both control and quality of tone in their playing. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music and the music editor suggests that this is an excellent assessment piece.
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for viola and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the soloist to develop both control and quality of tone in their playing. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music and the music editor suggests that this is an excellent assessment piece.
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for oboe and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the soloist to develop both control and quality of tone in their playing. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music and the music editor suggests that this is an excellent assessment piece.
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for flute and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the flute soloist to develop both control and quality of tone. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a both considerable musical and emotional range which suggests that this is an excellent assessment piece.
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Violin players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2)88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A violin part is appended to the sheet music score.
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Cellists should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1)84 (2)88 (3)92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A violoncello part is appended to the sheet music score.
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Viola players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A viola part is appended to the sheet music score.
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Tuba players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A tuba part is appended to the sheet music score.
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Trumpet players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A trumpet in Bb part appropriately transposed is appended to the sheet music score.
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Trombone players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A trombone part is appended to the sheet music score.
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Tenor horn players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A tenor horn part notated in the treble clef and appropriately transposed is appended to the sheet music score.
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Euphonium players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1)84 (2)88 (3)92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A euphonium part notated in the treble clef and appropriately transposed is appended to the sheet music score.
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Baritone saxophone players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A baritone saxophone part appropriately transposed is appended to the sheet music score.
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Oboe players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. An English horn part appropriately transposed is appended to the sheet music score.
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Solo players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A bassoon part is appended to the sheet music score.
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Solo players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A soprano saxophone part appropriately transposed is appended to the sheet music score.
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Solo players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A tenor saxophone part appropriately transposed is appended to the sheet music score.
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Solo players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. An alto saxophone part appropriately transposed is appended to the sheet music score.
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Clarinet players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A clarinet in Bb part appropriately transposed part is appended to the sheet music score.
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Oboe players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. An oboe part is appended to the sheet music score.
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Flute players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 84 (2) 88 (3) 92 quarter note (crotchet) beats to the minute from the PlentyMusic website. A flute part is appended to the sheet music score.
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.
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.
Puccini’s Piccolo Valzer dates from 1894 and but was revisited by the composer becoming Musetta’s Waltz “Quando me n’vo” in Act II of the opera “La Boheme.” It is interesting to play this waltz melody as a piano piece and the music editor suggests a Moderato tempo rather than Lento. The composer was inspired to write the work after a boat trip fishing on the lake close to his home. The playing instruction con ondulazione is a reference to ripples on the water. Pianists need to avoid playing with too heavy a touch and the sustaining pedal needs to be used or else the playing may sound on the lumpy side. This is marked in the sheet music score and be ready for some rather quick pedalling changes. The realisation plays at 94 quarter note beats to the minute. There is opportunity for the music to ebb and flow in respect to the tempo and the tempo rubato is a reference to this type of playing. There is some wonderful harmonic writing in this ternary form ABA work but avoid any exaggerated playing and aim to communicate the simplicity and beauty of the melody.
Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African American spiritual. There are many recorded versions dating as far back as the 1920’s and It was also familiar as an anti-war protest song during the Vietnam war. There are many versions of the lyrics which include Old Testament bible references. There are fine performances to be discovered by traditional jazz bands and singers that explore traditional, gospel and contemporary popular music styles. This arrangement sounds in the key of Eb and features syncopation in a march style. It is as an excellent introduction for learning to play in the 20th century popular idiom. An alto saxophone part appropriately transposed is appended to the full score. There is one accompaniment available that plays back at a tempo of 84 half note or minim beats to the minute.
Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African American spiritual. There are many recorded versions dating as far back as the 1920’s and It was also familiar as an anti-war protest song during the Vietnam war. There are many versions of the lyrics which include Old Testament bible references. There are fine performances to be discovered by traditional jazz bands and singers that explore traditional, gospel and contemporary popular music styles. This arrangement sounds in the key of F and features syncopation in a march style. It is as an excellent introduction for learning to play in the 20th century popular idiom. A clarinet in Bb part appropriately transposed is appended to the full score. There is one accompaniment available that plays back at a tempo of 84 half note or minim beats to the minute.
Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African American spiritual. There are many recorded versions dating as far back as the 1920’s and It was also familiar as an anti-war protest song during the Vietnam war. There are many versions of the lyrics which include Old Testament bible references. There are fine performances to be discovered by traditional jazz bands and singers that explore traditional, gospel and contemporary popular music styles. This arrangement sounds in the key of C and features syncopation in a march style. It is as an excellent introduction for learning to play in the 20th century popular idiom. A flute part is appended to the full score. There is one accompaniment available that plays back at a tempo of 84 half note or minim beats to the minute.
Elite Syncopations is one of Scott Joplin best ragtime compositions. If you are not sure how to approach the playing of Joplin’s music listen to the composers own whose remastered piano rolls which are an excellent source of clarifying how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for intermediate level piano which also has suggested fingering in place. The music sounds key in the original key of C.
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The tempo of the realisation in the realisation plays at 63quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which is on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. Accompanists need to make use of the sustaining pedal and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A trombone part is appended to the full score. There are three piano accompaniments available at tempos of (1) 64 (2) 66 and (3) 68 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time.
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime known particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The music has been transposed to sound in the key of F and the tempo in the realisation plays at 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which is on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. Accompanists need to make use of the sustaining pedal and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A trombone part is appended to the full score. There are three piano accompaniments available at tempos of (1) 64 (2) 66 and (3) 68 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time.
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The sounding key is Eb and the tempo in the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which is on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The uses of the sustaining pedal by the piano accompanist is recommended and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A trumpet in Bb appropriately transposed is appended to the full score. There are three piano accompaniments available at tempos of (1) 64 (2) 66 and (3) 68 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time.
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The approach to this arrangement has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The tempo in the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the video score which is available to view on our YouTube channel the ornaments have been written out although symbols have been used in the sheet music score which is available from the website. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The accompanist does need to make use of the sustaining pedal and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A tenor saxophone part appropriately transposed is appended to the full score. There are three piano accompaniments available at tempos of (1) 64 (2) 66 and (3) 68 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time.
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The tempo in the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which is on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The accompanist does need to make use of the sustaining pedal and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A violin part is appended to the full score. There are three piano accompaniments available at tempos of (1) 64 (2) 66 and (3) 68 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time.
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The sounding key is Eb and the tempo of the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which is on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The accompanist does need to make use of the sustaining pedal and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A clarinet part appropriately transposed is appended to the full score. There are three piano accompaniments available at tempos of (1) 64 (2) 66 and (3) 68 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time.
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The tempo in the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which can be found on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The uses of the sustaining pedal by the piano accompanist is recommended and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! An oboe part is appended to the full score.There are three piano accompaniments available at tempos of (1) 64 (2) 66 and (3) 68 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time.
Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The tempo in the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which can be found on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The uses of the sustaining pedal by the piano accompanist is recommended and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A flute part is appended to the full score. There are three piano accompaniments available at tempos of (1) 64 (2) 66 and (3) 68 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time.
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.
This arrangement of Odeon for flute, acoustic guitar and string/upright bass is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed up a semitone and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The three individual instrument parts are also appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling or swaying in a dance context. The acoustic guitar and string bass as accompanying instruments needs to be played quite percussively communicate the energy of the movement. There are accompaniments featuring acoustic guitar and string bass available at tempi of 88, 92 and 96 quarter note (crotchet) beats to the minute with the repeats being played.
This arrangement of Odeon for marimba, acoustic guitar and string/upright bass is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed up a semitone and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The three individual instrument parts are also appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling or swaying in a dance context. The acoustic guitar and string bass as accompanying instruments needs to be played quite percussively communicate the energy of the movement. There are accompaniments featuring acoustic guitar and string bass available at tempi of 88, 92 and 96 quarter note (crotchet) beats to the minute with the repeats being played.
This arrangement of Odeon for bass trombone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A bass trombone part part appended to the full score The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girdling or swaying in a dance context. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 88, 92 and 96 quarter note (crotchet) beats to the minute with the repeats being played.
This arrangement of Odeon for violoncello and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music is in its original key although where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The violoncello part is notated in the tenor and bass clef and there is a part appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girdling or swaying in a dance context. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 88, 92 and 96 quarter note (crotchet) beats to the minute with the repeats being played.
This arrangement of Odeon for trombone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A trombone part appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 88, 92 and 96 quarter note (crotchet) beats to the minute with the repeats being played.
This arrangement of Odeon for bassoon and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The bassoon part is notated in the tenor and bass clef and a bassoon part is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 88, 92 and 96 quarter note (crotchet) beats to the minute with the repeats being played.
Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement full of energy featuring many syncopated patterns and the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed down a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A baritone saxophone part appropriately transposed is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 88, 92 and 96 quarter note (crotchet) beats to the minute with the repeats being played.
This arrangement of Odeon for alto saxophone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 88, 92 and 96 quarter note (crotchet) beats to the minute with the repeats being played.
This arrangement of Odeon for clarinet in Bb and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed down a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A clarinet in Bb part appropriately transposed is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 88, 92 and 96 quarter note (crotchet) beats to the minute with the repeats being played.
This arrangement of Odeon for flute and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 92 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A flute part is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 88, 92 and 96 quarter note (crotchet) beats to the minute with the repeats being played.
An arrangement for soprano, two alto, tenor and baritone saxophones – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing and tone quality in the melody playing. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. The score and parts can be downloaded as a one document pdf file from the website.
An arrangement for four clarinets in Bb and bass clarinet – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing and tone quality in the melody playing. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. The score and parts can be downloaded as a one document pdf file from the website.
An arrangement for violin accompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 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 described as an improver level piece the guitar player’s part is obviously harder than the flute players. There are three guitar accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
An arrangement for oboeaccompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 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. There are three guitar accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
An arrangement for flute accompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 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 described as an improver level piece the guitar player’s part is obviously harder than the flute players. There are three guitar accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a plain score part is appended to the edited music score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. Violinists may wish to try performing with a mute. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a violin part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a horn in F (French horn) part appropriately transposed is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
21-12-21 This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a trombone part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a trumpet part appropriately transposed is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a bassoon part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute and the music sounds in Bb. A tenor saxophone appropriately transposed is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute and the music sounds in Bb. A soprano saxophone appropriately transposed is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such indicative score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The clarinet range is also explored in this particular arrangement. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a clarinet in Bb part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such indicative score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst an oboe part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such indicative score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a flute part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute.
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for violoncello accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for instrument players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor has suggested pedalling for some parts of the movement but the guiding principle is that pedalling relates very much to changes in the bass note. The repeats are not played in the realisation. Antonín Dvo?ák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvo?ák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A violoncello part is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute.
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this original version for violin accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for instrument players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor has suggested pedalling for some parts of the movement but the guiding principle is that pedalling relates very much to changes in the bass note. The repeats are not played in the realisation. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A violin part is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute.
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for alto saxophone accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. There are some octave transpositions in the arrangement needed to keep the alto saxophone within its range. Antonín Dvo?ák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvo?ák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. An alto saxophone part appropriately transposed is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute.
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for tenor horn accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A tenor horn part is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute.
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for horn in F (French horn) accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A horn in F (French horn) appropriately transposed is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute.
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for trumpet in Bb accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. There are some octave transpositions in the arrangement needed to keep the alto saxophone within its range. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A trumpet part appropriately transposed is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute.
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for soprano saxophone accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the video score is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. There are some octave transpositions in the arrangement needed to keep the soprano saxophone within its range. Antonín Dvo?ák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvo?ák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A soprano saxophone part appropriately transposed is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute.
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for clarinet in B flat accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback of the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. Antonín Dvo?ák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvo?ák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A clarinet in Bb part appropriately transposed is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute.
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for oboe accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback of the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for oboe players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. There are some octave transpositions in the arrangement needed to keep the clarinet within its range. Antonín Dvo?ák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvo?ák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. An oboe part is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute.
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for flute accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for flute players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling for the whole movement is in place with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. There are some octave transpositions in the arrangement needed to keep the flute within its range. Antonín Dvo?ák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvo?ák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A flute part is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute.
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.
An arrangement for flute and acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. The humour in the music also invites an exaggerated performance although this is not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the trumpet melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. Acoustic guitar accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68 Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for oboe and acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. The humour in the music also invites an exaggerated performance although this is not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the oboe melody. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. Acoustic guitar accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68 Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for violin and acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. The humour in the music also invites an exaggerated performance although this is not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. Acoustic guitar accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68 Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement two acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. The humour in the music also invites an exaggerated performance although this is not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the acoustic guitar 1 melody. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. Acoustic guitar 2 accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68 Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for pitched percussion (marimba) and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Accompanying pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the oboe melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A marimba part is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for violoncello and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Accompanying pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the oboe melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A violoncello part is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for violin and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Accompanying pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the oboe melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A violin part is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for trombone and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the trombone melody. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A trombone part is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for trumpet in Bb and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the trumpet melody. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A trumpet in Bb part appropriately transposed is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for bassoon and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the bassoon melody. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A bassoon part is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for tenor saxophone and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the tenor saxophone melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A tenor saxophone part appropriately transposed is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for alto saxophone and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the alto saxophone melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. An alto saxophone part appropriately transposed is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for oboe and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the oboe melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. An oboe part is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for flute and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a spirited sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Accompanying pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. Additionally, it is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The score detail relating to the use of the sustaining pedal possibly needs clarifying in that what is possibly required is not always indicated. Piano accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for marimba and acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. The humour in the music also invites an exaggerated performance although this is not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. Acoustic guitar accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68 Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
An arrangement for clarinet in Bb and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the clarinet melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A clarinet in Bb part appropriately transposed is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for viola with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 57 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A viola part is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for tuba with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 57 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A violin part transposed is appended to the full score.
The First Movement from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. The realization plays back at a tempo of 60 half note (minim) beats to the minute. The music editor suggests 64 minim beats to the minute as an ideal tempo for playing the movement. A light touch is required in a performance and all notes need to be clearly articulated. Playing Mozart requires a very consistent and even approach and the avoidance of exaggeration. As far are ornaments are concerned players should be imitating each other in their delivery. The short trill is a simple 4 note shape. This is music that is very much about melody and accompaniment and it is important for players to communicate its charm and beauty. The music editor’s preference is for a dry acoustic which is appropriate for the music and instruments of the period. This sonata is likely to have been performed by the young Mozart with his elder sister Nannerl on a visit to London where the performing instrument was likely to have been a harpsichord. The music was only discovered in 1921 and whilst in the past it has been attributed to W.A Mozart the current view is that it was more probably composed by either his older sister Nannerl or his father Leopold. Suffice to say that much of Mozart's classical musical style is demonstrated in this sonata whichever one of the family composed it! The sonata has some very appealing musical content and as a work, most probably written by a child, it is interesting to play and compare to W.A. Mozart's later and more substantial piano 4 hands music such as the piano Sonata for Piano 4 hands in C K.521. There are several variants in terms of the scores available but the sheet music score and realisations are based on current performance practice. The two piano parts can be downloaded separately as “accompaniments” enabling players to enjoy and ensemble music experience playing either the Primo or Secondo part. If players would like more choice in the tempo of these “accompaniments” then please advise the PlentyMusic Office with tempo suggestions. Accompaniment 1 = Primo at 60 half note (minim) beats to the minute, 2 = Secondo at 60 half note (minim) beats to the minute, 3 = Secondo at 64 half note (minim) beats to the minute.
A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for acoustic guitar + TAB and acoustic guitar + chord chart has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have contributed music to the tarantella repertoire. Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute.
A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for mandolin + TAB and acoustic guitar has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have contributed music to the tarantella repertoire. Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute.
A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for solo piano has 4 strains of music ABCD with each strain repeated. Clarinet players may wish to explore the lower octave as well in their playing of the piece. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and other serious composers have also contributed music to the tarantella repertoire.
A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for mandolin and acoustic guitar has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have contributed music to the tarantella repertoire. Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute.
A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for marimba and acoustic guitar has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have contributed music to the tarantella repertoire. Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute.
A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for two acoustic guitars has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have contributed music to the tarantella repertoire. Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute.
A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for violin and acoustic guitar has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have also contributed music to the tarantella repertoire. . Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute.
A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for flute and acoustic guitar has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have contributed music to the tarantella repertoire. Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute.
This piano prelude dates from 1897. Whilst Scriabin was famous and his importance recognised in his lifetime his music has been largely ignored and forgotten since his death. His musical language is frequently extremely chromatic and dissonant whilst his early works can be described as belonging to the late romantic period in music history and are essentially tonal works.Many of his preludes and short works are both beautiful and challenging pieces of music and are deserving of more attention and being played. This particularly piece has been popularised by the American group the Punch Brothers on their album Phosphorescent Blues. As a young composer Scriabin was influenced by Chopin but in his later life he became pre-occupied with mysticism and theosophy in time becoming identified as a symbolist composer.
Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was very fortunate in that he was able to source several folk music collections on which to compose and arrange music. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The sustaining pedal needs to be used in the playing of the movement and many of the chords are played in a spread or arpeggiated pattern. The melodic and rhythmic shapes of the movement are both strong and this is an excellent performance piece. There are also many arrangements of the piece to be explored for various combinations of instruments. Accompaniments are available from the website enabling the pianist or keyboard player to take on the role of the primo or secondo part. Accompaniment 1 is the primo part and Accompaniment 2 is the secondo part.
The Military March No. 1 Opus 51 D.733 was published in 1826 along with two other marches although it was more than likely composed some years before this date. It was intended to be a teaching piece. The March is in the key of D with the Trio section in the sub-dominant key of G. This work for piano four hands or piano duet has become one of Schubert’s most popular works. There are many arrangements for a range of different instrument combinations. The music is both tuneful and rhythmic. The March and the succeeding Trio are both in AB binary form with the repeats being played. The March is repeated at the end of the Trio without repeats so the form in performance can be summarised by the letters AABBCCDDAB. The realisation plays back at a tempo of 120 quarter note (crotchet) beats to the minute which is a tempo the music editor suggests the music really comes alive. Accompaniments are available from the website enabling the pianist or keyboard player to take on the rôle of the primo or secondo part. Accompaniment 1 is the primo part and Accompaniment 2 is the secondo part. Both play at 120 quarter note (crotchet) beats to the minute. These are quite challenging but equally appropriate tempi.
The Rondo from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. It is believed that this work dates from 1765 and was possibly played by Mozart and his sister on a visit to London when more than likely it was played on a harpsichord. A rondo is a piece with a recurring theme and the form of this movement can be represented by the letters A B A C A D A E A. The realization plays back at a tempo of 110 quarter note beats to the minute. Each section is played at the same tempo apart from the Adagio E section. The appoggiaturas marked in the score can be and are interpreted differently by different performers. The music was only discovered in 1921 and whilst in the past it has been attributed to W.A Mozart the current view is that it was more probably composed by either his older sister Nannerl or his father Leopold. Suffice to say there is much of Mozart's classical musical style in this sonata whichever one of the family composed it! The sonata has some very appealing musical content and as a work, most probably written by a child, it is interesting to play and compare to W.A. Mozart's later and more substantial piano 4 hands music such as the piano Sonata for Piano 4 hands in C K.521. There are several variants in terms of the scores available but the sheet music score and realisation are based on current performance practice. The two piano parts can be downloaded separately as “accompaniments” enabling players to enjoy and ensemble music experience playing either the Primo or Secondo part. If players would like more choice in the tempo of these “accompaniments” then please advise the PlentyMusic Office with tempo suggestions. Accompaniment 1 = Primo at 100 quarter note (crotchet) beats to the minute, 2 = Secondo at 100 quarter note (crotchet) beats to the minute 3 = Secondo at 100 quarter note (crotchet) beats to the minute.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for tuba with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A tuba part transposed is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for trombone with piano accompaniment sounds in the key of F. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A trombone part is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for tenor horn with piano accompaniment sounds in the key of F. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A tenor horn part appropriately transposed is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for trumpet in Bb with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A trumpet in Bb part appropriately transposed is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for horn in F (French horn) with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A horn in F (French horn) appropriately transposed is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for bassoon with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A bassoon part appropriately transposed is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for tenor saxophone with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A tenor saxophone part appropriately transposed is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for alto saxophone with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. An alto saxophone part appropriately transposed is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for soprano saxophone with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A soprano saxophone part appropriately transposed is appended to the full score.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for clarinet in Bb with piano accompaniment sounds in the key of F. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A clarinet in Bb part appropriately transposed is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for clarinet in A with piano accompaniment is in the key of A. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A clarinet in A part appropriately transposed is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for English horn with piano accompaniment is in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. An English horn part appropriately transposed is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both a legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for oboe with piano accompaniment is in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score. The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. An oboe part is appended to the full score.
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for flute with piano accompaniment is in the key of G. The Pavan has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece.The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composers own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=57, 2=60 and 3=63 quarter note beats to the minute. A flute part is appended to the full score.
The Minuet and Trio for piano 4 hands from the Keyboard Sonata in C K.19d is an intermediate level piano duet. It is believed that this work dates from 1765 and was possibly played by Mozart and his sister on a visit to London when more than likely it was played on a harpsichord. The music was only discovered in 1921 and whilst in the past it has been attributed to W.A Mozart the current view is that it was more probably composed by either his older sister Nannerl or his father Leopold. Suffice to say there is much of Mozart's classical musical style in this sonata whichever one of the family composed it. The sonata has some very appealing musical content and as a work, most probably written by a child, it is interesting to play and compare to W.A. Mozart's later and more substantial piano 4 hands music such as the piano Sonata for Piano 4 hands in C K.521. There are several variants in terms of the scores available but the sheet music score and realisation are based on current performance practice. The pattern that the of this music in performance is Minuet AABB Trio AABB followed by a repeat of the Minuet without repeats AB. The video score plays back at a tempo of 112 quarter note beats to the minute. The tempi of the minuet and trio sections are the same. Pianists and keyboard players do need to approach the work with a lightness of touch which is perhaps not suggested in the realisation. All notes need to be clearly articulated but duettists need to remember that the piece is very much about melody and accompaniment and it is the top line which needs to prevail. The music editor is keen to have feedback in respect to the accompaniment particularly in regard to the tempo that has been suggested. Please advise the PlentyMusic office if you would like an accompaniment uploaded at a different tempo. Pianists and keyboard players can download the sheet music score and mp3 files enabling them to take on the roles of either primo or secondo players accompanied by mp3 sound file to provide an ensemble music making experience. Accompaniment No. 1 is the PRIMO part whilst Accompaniment 2 is the SECONDO part and there is a two bar click track to introduce the music. If pianist and keyboard players need to know more about the how the ornaments namely the appoggiaturas and trills refer to the video score on our YouTube channel where the ornaments are written out in full. Simply follow the link from the website to the YouTube channel.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s.The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for a brass quartet comprising trumpet or cornet in Bb, tenor horn, baritone and tuba sounding in the key of Eb. The playback tempo is 84 quarter note beats to the minute and individual parts appropriately transposed are appended to the full score. The music editor is quite happy to respond to requests for an arrangement that includes other brass instruments. Please advise the PlentyMusic office.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for a clarinet quartet comprising 3 clarinets in Bb and bass clarinet sounding in the key of Eb. The playback tempo is 84 quarter note beats to the minute and individual parts appropriately transposed are appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for a string quartet of 2 violins, viola and violoncello sounding in the key of D. The playback tempo is 84 quarter note beats to the minute and individual parts are appended to the full score. The violin 1 has the option of playing the repeat at the octave.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for a saxophone quartet of soprano, alto, tenor and baritone saxophones sounding in the key of Eb. The playback tempo is 84 quarter note beats to the minute and individual parts appropriately transposed are appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for violin accompanied by acoustic guitar. The playback tempo is 84 quarter note beats to the minute and violinist has the option of playing back the repeat at the octave.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for flute accompanied by acoustic guitar. The playback tempo is 84 quarter note beats to the minute.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for violin accompanied by acoustic guitar. The playback tempo is 84 quarter note beats to the minute and violinist has the option of playing back the repeat at the octave. This score has the acoustic guitar part in both conventional notation and TAB.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s.The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for flute accompanied by acoustic guitar. The playback tempo is 84 quarter note beats to the minute. This score has the acoustic guitar part in both conventional notation and TAB.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for violoncello accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a violoncello part is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for violin accompanied by piano with the violinist having the option of playing the repeat at the octave. The playback tempo is 84 quarter note beats to the minute and a violin part is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s.The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for tuba accompanied by piano. The tuba player also has the option of playing the repeat an octave higher. The playback tempo is 84 quarter note beats to the minute and a tuba part is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in F is for trombone accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a trombone part is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for trumpet in Bb accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a trumpet in Bb part appropriately transposed is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in F is for a Horn in F (French horn) accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a horn in F (French horn) part appropriately transposed is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for baritone saxophone accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a baritone saxophone part appropriately transposed is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for tenor saxophone accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a tenor saxophone part appropriately transposed is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. This arrangement sounding in Eb is for alto saxophone accompanied by piano. The playback tempo is 84 quarter note beats to the minute and an alto saxophone part appropriately transposed is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for soprano saxophone accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a soprano saxophone part appropriately transposed is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s.The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for clarinet in Bb accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a clarinet in Bb part appropriately transposed is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in D is for English horn accompanied by piano. The playback tempo is 84 quarter note beats to the minute and an English horn part appropriately transposed is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for oboe accompanied by piano. The playback tempo is 84 quarter note beats to the minute and an oboe part is appended to the full score.
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for flute accompanied by piano with the flautist having the option of playing the repeat an octave higher. The playback tempo is 84 quarter note beats to the minute and a flute part is appended to the full score.
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.
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 violin accompanied by acoustic guitar sounding in the key of G with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. This is an excellent performance piece because the melody is appealing and familiar. The violin player has the option of playing the repeat at the octave although this is not indicated in the score. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute.
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 oboe accompanied by acoustic guitar sounding in the key of G with the realisation playing back at a tempo of 63 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. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute.
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 two acoustic guitars sounding in the key of G with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. The appended guitar parts also notated in both conventional music notation and TAB. 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. Accompaniments (Guitar 2) are available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute.
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 two acoustic guitars sounding in the key of G with the realisation playing back at a tempo of 63 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. Accompaniments (Guitar 2) are available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for flute accompanied by acoustic guitar sounding in the key of G with the realisation playing back at a tempo of 63 dotted quarter note (crotchet)beats to the minute. This is an excellent performance piece because the melody is appealing and familiar. The flute player has the option of playing the repeat at the octave. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for mandolin accompanied by acoustic guitar sounding in the key of G with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. This is an excellent performance piece because the melody is appealing and familiar. The mandolin player may wish to edit the suggested tremolo playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The word barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for horn in F with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A horn in F part appropriately transposed is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The word barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for trumpet in Bb with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A trumpet in Bb part appropriately transposed is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 60 dotted quarter note (crotchet) beats to the minute. In this arrangement for baritone with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A baritone part appropriately transposed is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The word barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for trombone with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A trombone part is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 60 dotted quarter note (crotchet) beats to the minute. In this arrangement for tuba with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A tuba part is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 60 dotted quarter note (crotchet) beats to the minute. In this arrangement for tenor horn with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A tenor horn part appropriately transposed is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for violoncello with piano accompaniment the sounding key is G. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A violoncello part is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for viola with piano accompaniment the sounding key is D. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A viola part is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for tenor horn with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A violin part is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for bassoon with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A bassoon part is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet)beats to the minute. In this arrangement for alto saxophone with piano accompaniment the sounding key is Eb. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A baritone saxophone part appropriately transposed is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for tenor saxophone with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A tenor saxophone part appropriately transposed is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The word barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for alto saxophone with piano accompaniment the sounding key is Eb. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. An alto saxophone part appropriately transposed is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for soprano saxophone with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A soprano saxophone part appropriately transposed is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for clarinet in Bb with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. An clarinet in Bb part appropriately transposed is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for flute with piano accompaniment the sounding key is D. This is an excellent performance piece because the melody is appealing and familiar. Players should aim to play with both a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. An English horn part appropriately transposed is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for flute with piano accompaniment the sounding key is G. This is an excellent performance piece because the melody is appealing and familiar. Players should aim to play with both a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. An oboe part is appended to the full score.
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate (lilting) tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. The repeat is played sounding an octave higher. In this arrangement for flute with piano accompaniment the sounding key is G. This is an excellent performance piece because the melody is appealing and familiar. Players should aim to play with both a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. A flute part is appended to the full score.
When The Saints Go Marching In arranged for two guitars (electric or acoustic) and bass guitar in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the bass player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. There are TAB scores for the Guitar 1 part and bass guitarist whilst chord shapes are indicated in the Guitar 2 part.These are appended to the full score. The accompaniment mp3 features a string bass in the playback.
When The Saints Go Marching In arranged for flute, acoustic guitar and string bass in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the bass player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. The flute has the option of playing the repeat at the octave as indicated in the score. Chords have also been indicated in the guitar score and there is a TAB score for the bass guitarist. Individual parts are also appended to the full score.
When The Saints Go Marching In arranged for pitched percussion (marimba), acoustic guitar and bass guitar in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the bass player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. The marimba player has the option of playing the repeats an octave higher whilst chords shapes have been indicated in the guitar score and the bass guitar is notated both conventionally and TAB. Individual parts are appended to the full score. The accompaniment mp3 features a string bass in the playback.
When The Saints Go Marching In arranged for banjo, acoustic guitar and bass guitar in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the bass player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. There are conventionally notatated and TAB scores for the banjo and bass guitar parts whilst chords have also been indicated in the guitar score. Individual parts are appended to the full score. The accompaniment mp3 features a string bass in the playback.
When The Saints Go Marching In arranged for violin, acoustic guitar and bass guitar in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the bass player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. The violinist has the option of playing the repeat at the octave as indicated in the score. Chords have also been indicated in the guitar score and there is a TAB score for the bass guitarist. Individual parts are also appended to the full score. The accompaniment mp3 features a string bass in the playback.
When The Saints Go Marching In arranged for saxophone quintet sounding in the key of F. There are parts for parts for soprano, 2 x alto, tenor and baritone saxophones. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist keyboard player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. Individual parts for the five instruments are appended to the full score.
When The Saints Go Marching In arranged for clarinet choir sounding in the key of F. There are parts for 4 clarinets in Bb and bass clarinet. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist keyboard player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. Individual parts for the five instruments are appended to the full score.
When The Saints Go Marching In arranged for solo piano or keyboard in the key of D. The challenge for the piano/keyboard player is to keep the melody line singing out over the accompaniment. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist keyboard player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. Chords have also been indicated in the score as is the convention in popular music.
When The Saints Go Marching In arranged for solo piano or keyboard in the key of C. The challenge for the piano/keyboard player is to keep the melody line singing out over the accompaniment. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist keyboard player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. Chords have also been indicated in the score as is the convention in popular music.
When The Saints Go Marching In arranged for violin and piano in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A violin part is appended to the full score.
When The Saints Go Marching In arranged for pitched percussion (a marimba sounds in the realisation) and piano in the key of C. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A marimba part is appended to the full score.
When The Saints Go Marching In arranged for pitched percussion (a marimba sounds in the realisation) and piano in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A marimba part is appended to the full score.
When The Saints Go Marching In arranged for trombone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A trombone part is appended to the full score.
When The Saints Go Marching In arranged for baritone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A baritone part appropriately transposed is appended to the full score.
When The Saints Go Marching In arranged for trombone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A trumpet in Bb part appropriately transposed is appended to the full score.
When The Saints Go Marching In arranged for tenor saxophone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A tenor saxophone part appropriately transposed is appended to the full score.
When The Saints Go Marching In arranged for clarinet in Bb and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. An alto saxophone part appropriately transposed is appended to the full score.
When The Saints Go Marching In arranged for clarinet in Bb and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A soprano saxophone part appropriately transposed is appended to the full score.
When The Saints Go Marching In arranged for clarinet in Bb and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A clarinet part appropriately transposed is appended to the full score.
When The Saints Go Marching In arranged for flute and piano in the key of C. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A flute part is appended to the full score.
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A violoncello part is appended to the full score.
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A viola part is appended to the full score.
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A violin part is appended to the full score.
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A tuba part is appended to the full score.
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A tenor horn part appropriately transposed is appended to the full score.
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A baritone part appropriately transposed is appended to the full score.
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A trombone part is appended to the full score.
Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A trumpet part is appended to the full score.
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A horn in F (French horn) part appropriately transposed is appended to the full score.
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicia The repeat is not played in the playback score but is in the accompaniment track. ns playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A baritone saxophone part appropriately transposed is appended to the full score.
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A bassoon part is appended to the full score.
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicia The repeat is not played in the playback score but is in the accompaniment track. ns playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A tenor saxophone part appropriately transposed is appended to the full score.
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores . Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A soprano saxophone part appropriately transposed is appended to the full score.
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores . Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. An alto saxophone part appropriately transposed is appended to the full score.
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A clarinet in Bb part appropriately transposed is appended to the full score.
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. An English horn part appropriately transposed is appended to the full score.
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. An oboe part is appended to the full score.
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 54, 2 = 52 and 3 = 56 dotted quarter note beats to the bar). The repeat is played at the octave in the playback score and alsoin the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores . Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A flute part is appended to the full score.
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for tuba accompanied by the piano. The solo part is appended to the piano score. There is a two bar click count in on the accompaniment track.
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for viola accompanied by the piano. The solo part is appended to the piano score. There is a two bar click count in on the accompaniment track.
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for violoncello accompanied by the piano. The solo part is also appended to the piano score. There is a two bar click count in on the accompaniment track.
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for alto saxophone accompanied by the piano. The solo part is appended to the piano score. There is a two bar click introduction to the accompaniment.
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tempo of 110 quarter note beats (crotchet) to the minute used in what is the original version for piano.
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for violin accompanied by acoustic guitar and string bass. There is a two bar click count in on the accompaniment track. A bass guitar can be used if available.
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for flute accompanied by acoustic guitar and upright or string bass. There is a two bar click count in on the accompaniment track. A bass guitar can be substituted for the string bass.
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.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A guitar accompaniment is also available for this score and for the guitarist there is a both a TAB and notated music score.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A guitar accompaniment is also available for this score.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A guitar accompaniment is also available for this score.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A guitar accompaniment is also available for this score.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A guitar accompaniment is also available for this score.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A violoncello part is appended to the full score and a piano accompaniment is also available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A viola part is appended to the full score and a piano accompaniment is also available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A violin part is appended to the full score and a piano accompaniment is also available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A tenor horn part is appended to the full score. A piano accompaniment is also available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A baritone horn part is appended to the full score. A piano accompaniment is also available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A trombone part is appended to the full score. A piano accompaniment is also available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A trumpet in Bb part is appended to the full score. A piano accompaniment is also available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A horn in F (French horn) appropriately transposed is appended to the full score. A piano accompaniment is also available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A bassoon part is appended to the full score. A piano accompaniment is also available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. An tenor saxophone part appropriately transposed is appended to the full score.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. An alto saxophone part appropriately transposed is appended to the full score. A piano accompaniment is available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A soprano saxophone part appropriately transposed is appended to the full score. A piano accompaniment is available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A clarinet in Bb part appropriately transposed is appended to the full score. A piano accompaniment is available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. An English horn part appropriately transposed is appended to the full score. A piano accompaniment is available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. An oboe part is appended to the full score. A piano accompaniment is available for this arrangement.
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. There is the option of playing the repeat at the octave. A flute part is appended to the full score. A piano and also a guitar accompaniment are also available for this score.
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “Bird of Prophet” or “The Prophet Bird.” It is an impressive piece in ABA (ternary form) and has been arranged for violin and piano. The tempo indication in German is Langsam, sehr zart which translates as Slowly, very tenderly. The music has a haunting quality and offers challenges for both for the violinist and accompanist making it a very good test piece. The playback in the realisation is a little on the tense side and does not explore tempo rubato which at this time was an aspect of performance practice. Poise and control are needed in a performance whilst all the shapes need to be practiced for accuracy and shape. This is a music score that offers many challenges to players. The tempo in the realisation is 60 quarter note beats although there is opportunity to slow down at the end of phrases. The trill has been written out on an ossia stave in the sheet music score. The sustaining pedal has been indicated in the score but minimal use is suggested. This is a work that challenges the performers to make it their own in the sense that from the first note to the last both the players and the listeners must be captivated. It is a piece where it very easy for the music to be lost on the journey of a performance. It is important for players have a clear understanding of the rhythmic notation and intention - 3 thirty-second notes (demisemiquavers) are to be played in the time of one sixteenth note (or semiquaver). The music editor suggests that at the end of bar 18 the tempo is slowed and again at the end of bar 23 before the return to Tempo I at bar 25. This arrangement keeps as close to Schumann’s score copy as possible. A violin part is appended to the full score.
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “Bird of Prophet” or “The Prophet Bird.” It is an impressive piece in ABA (Ternary form) and has been arranged for clarinet in Bb and piano sounding in C minor. There are a few octave transpositions in the piano part. The tempo indication in German is Langsam, sehr zart which translates as Slowly, very tenderly. The music has a haunting quality and offers challenges for both for the clarinet player and accompanist making it a very good test piece. The playback in the realisation is a little on the tense side and does not explore tempo rubato which at this time was an aspect of performance practice. Poise and control are needed in a performance whilst all the shapes need to be practiced for accuracy and shape. This is a music score that offers many challenges to players. The tempo in the realisation is 60 quarter note beats although there is opportunity to slow down at the end of phrases. The trill has been written out on an ossia stave in the sheet music score. The sustaining pedal has been indicated in the score but minimal use is suggested. This is a work that challenges the performers to make it their own in the sense that from the first note to the last both the players and the listeners must be captivated. It is a piece where it very easy for the music to be lost on the journey of a performance. It is important for players have a clear understanding of the rhythmic notation and intention - 3 thirty-second notes (demisemiquavers) are to be played in the time of one sixteenth note (or semiquaver). The music editor suggests that at the end of bar 18 the tempo is slowed and again at the end of bar 23 before the return to Tempo I at bar 25. This arrangement keeps as close to Schumann’s score copy as possible. A clarinet in Bb part is appended to the full score.
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “Bird of Prophet” or “The Prophet Bird.” It is an impressive piece in ABA (Ternary form) and has been arranged for flute and piano. There are a few octave transpositions in the flute part simply needed to keep the melody within the instrument’s range. The tempo indication in German is Langsam, sehr zart which translates as Slowly, very tenderly. The music has a haunting quality and offers challenges for both for the flautist and accompanist making it a very good test piece. The playback in the realisation is a little on the tense side and does not explore tempo rubato which at this time was an aspect of performance practice. Poise and control are needed in a performance whilst all the shapes need to be practiced for accuracy and shape. This is a music score that offers many challenges to players. The tempo in the realisation is 60 quarter note beats although there is opportunity to slow down at the end of phrases. The trill has been written out on an ossia stave in the sheet music score. The sustaining pedal has been indicated in the score but minimal use is suggested. This is a work that challenges the performers to make it their own in the sense that from the first note to the last both the players and the listeners must be captivated. It is a piece where it very easy for the music to be lost on the journey of a performance. It is important for players have a clear understanding of the rhythmic notation and intention - 3 thirty-second notes (demisemiquavers) are to be played in the time of one sixteenth note (or semiquaver). The music editor suggests that at the end of bar 18 the tempo is slowed and again at the end of bar 23 before the return to Tempo I at bar 25. This arrangement keeps as close to Schumann’s score copy as possible. A flute part is appended to the full score.
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembered particularly for his operas. His keyboard music is played on both the piano and the harpsichord and several pieces in more recent times have been transcribed for the classical guitar. In this arrangement for flute and classical guitar of his Sonata in G minor C.61 marked Adagio ma non troppo the flute melody need to be played legato. Players need to have a keen awareness of the eighth note or quaver pulse whilst the realisation plays at 42 quarter (crotchet) beats to the minute. The repetitive element in the music is strong and the ornaments have been written out in this video score. There is the opportunity to linger at the end of phrases but any exaggeration of the music whether in respect to rhythm, dynamic and melody needs to be avoided.
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembered particularly for his operas. His keyboard music is played on both the piano and the harpsichord and several pieces in more recent times have been transcribed for the classical guitar. The movement marked Adagio ma non troppo requires a legato touch while the realisation plays at a steady 42 quarter (crotchet) beats to the minute. The score has been prepared for performance on a piano and the ossia stave has an interpretation provided for the playing of the ornaments in bar 2 although there is option to modify these suggestions which possibly lack some rhythmic flexibility. The repeat of the ornaments in bar 15 should be played as in bar 2. Keyboard players need to have a keen awareness of the eighth note or quaver pulse when they are playing. The repetitive element in the music is strong whilst there is the opportunity to linger at the end of phrases but any exaggeration of the music whether in respect to rhythm, dynamic and melody needs to be avoided. The keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found in recordings are editorial. They are works with appeal and consistent in their quality. The composer’s music is deserving of more attention and the keyboard sonatas are excellent performance pieces. A plain music score is appended to the edited music score.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A baritone part appropriately transposed is appended to the full music score although it is a tuba sound heard in the recording. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A tenor horn part appropriately transposed is appended to the full music score although it is a tuba sound heard in the recording. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A violin part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A violoncello part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent ensemble piece although there are challenges for the guitar player. It is a challenging piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a trio to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. Individual parts for the three instruments are appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone and the arrangement is for violins divided into parts I and II viola and violoncellos. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a string group to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. Individual string parts are appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone and this arrangement is for soprano, alto, tenor with possibly two instruments playing each line and baritone saxophone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a saxophone ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. Individual saxophone parts are appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone and this arrangement is for clarinets divided into parts I, II and III (ideally two instruments or more on each line) and bass clarinet. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a clarinet group to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. Individual clarinet parts are appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A trombone part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A horn in F (French horn) part is appended to the full music score and there is an alternative ending on the ossia stave. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A trumpet in Bb part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For an ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A bassoon part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For an ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A tenor saxophone part appropriately transposed is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For an ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. An alto saxophone part appropriately transposed is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For an ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. An English horn part appropriately transposed is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For an ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. An oboe part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For an ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A flute part is appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This is an excellent ensemble piece although there are particular challenges for the guitar player playing the inner lines. It is a challenging piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a trio to play this piece perfectly in tune requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Individual parts for the three instruments are appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music.
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. It has been transposed down a tone from the original version. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. The realisation lacks a little rhythmic flexibility at the ends of phrases in the rubato sections and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal although this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composers own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A horn in F part (French horn) appropriately transposed is appended to the music score.
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. The realisation lacks a little rhythmic flexibility at the ends of phrases in the rubato sections and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal although this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composer’s own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk style music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A viola part is appended to the music score.
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. The realisation lacks a little rhythmic flexibility at the ends of phrases in the rubato sections and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal although this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composer’s own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk style music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A violin part is appended to the music score.
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. It is a tone lower than the piano original and the Vivo sections have been transposed down an octave. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. The realisation lacks a little rhythmic flexibility at the ends of phrases and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal but this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composers own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A baritone part is appropriately transposed is appended to the music score.
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections.In the Vivo, non rubato sections the music has been transposed down an octave. The realisation lacks a little rhythmic flexibility at the ends of phrases and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal but this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composers own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. An alto saxophone part is appropriately transposed is appended to the music score. The music editor is aware that the range of the piece is right at the top end of the register for the alto saxophone and would be very interested in receiving feedback about the arrangements practicality and suitability in performance. An alto saxophone part appropriately transposed is appended to the music score.
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces although it has been transposed down a tone. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. The realisation lacks a little rhythmic flexibility at the ends of phrases in the rubato sections and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal although this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composer’s own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A clarinet on Bb appropriately transposed is appended to the music score.
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in both clefs. The rhythmic purpose of his music is always very strong and whilst delivery of the melody needs to be quite fluid in the rubato section the music nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 80 quarter note (crotchet) beats in the lento rubato sections and 144 quarter note (crotchet beats) beats in the Vivo, non rubato sections. Accompanists will want to make use of the sustaining pedal but this has not been indicated in the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composers own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A flute part is appended to the music score
This piece known as Evening in Transylvania and also Evening in the Village is from the composer’s piano collection Ten Easy Pieces. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bartok remains loyal to the principle of contrast in music exploring two different ideas. Bartok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in both clefs. The rhythmic purpose of his music is always very strong and whilst delivery of the melody needs to be quite fluid in the rubato section the music nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. Some pedalling has been indicated in the score but the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composers own time. Bartok considered the piano to be a percussion instrument and as a composer many of his folk music arrangements explore the modal element that is so characteristic of folk music and accompaniments make use of ostinatos. Much of his piano music was composed for teaching purposes and collections such as For Children and Mikrokosmos are well worth exploring. Bartok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bartok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works.
This is an improver level arrangement for violin and acoustic guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is based on the version found in Tchaikovsky’s Children’s Album Opus 39 for piano that dates from 1878. The tempo of the first section Andantino in the realisation is 100 quarter note (crotchet) beats to the minute and for the Vivace section the tempo is 120 quarter note beats to the minute. The voicing of the chord shapes for the acoustic guitar have been edited.
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.
This is an improver level arrangement for mandolin and acoustic guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is based on the version found in Tchaikovsky’s Children’s Album Opus 39 for piano that dates from 1878. The tempo of the first section Andantino in the realisation is 100 quarter note (crotchet) beats to the minute and for the Vivace section the tempo is 120 quarter note beats to the minute. The voicing of the chord shapes for the acoustic guitar have been edited. There is an alternative ending provided for the mandolin player.
This is an improver level arrangement for two acoustic guitars of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is based on the version found in Tchaikovsky’s Children’s Album Opus 39 for piano that dates from 1878. The tempo of the first section Andantino in the realisation is 100 quarter note (crotchet) beats to the minute and for the Vivace section the tempo is 120 quarter note beats to the minute. The voicing of the chord shapes for the acoustic guitar have been edited. There is an alternative ending provided for Acoustic Guitar 1.
This is an improver level arrangement for flute and guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is based on the version found in Tchaikovsky’s Children’s Album Opus 39 for piano that dates from 1878. The tempo of the first section Andantino in the realisation is 100 quarter note (crotchet) beats to the minute and for the Vivace section the tempo is 120 quarter note beats to the minutes. The voicing of the chord shapes for the acoustic guitar have been edited. For flute players who need an additional challenge there is an intermediate arrangement for the instrument with a piano accompaniment.
This is an arrangement for soprano saxophone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the soprano saxophone part is only sounded on the repeat and some performers also cut out 4 beats in the link between bars 10 and 11. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A soprano saxophone part is appended to the full music score in the pdf download.
This is an arrangement for tenor saxophone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the tenor saxophone part is only sounded on the repeat and some performers cut out 4 beats in the link between bars 10 and 11. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A tenor saxophone part is appended to the full music score in the pdf download.
This is an arrangement for alto saxophone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the alto saxophone part is only sounded on the repeat and some performers cut out 4 beats in the link between bars 10 and 11. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. An alto saxophone part is appended to the full music score in the pdf download.
This is an arrangement for tenor horn with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realisation is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the tenor horn part is only sounded on the repeat and some performers cut out 4 beats in the link between bars 9 and 10. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A tenor horn part is appended to the full music score in the pdf download.
This is an arrangement for flute with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realisation is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. There is the option of playing the repeat an octave higher than written and the first note of the flute part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A flute part is appended to the full music score in the pdf download.
This is an arrangement for bassoon with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realisation is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the bassoon part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A bassoon part is appended to the full music score in the pdf download.
This is an arrangement for trombone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the trombone part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A trombone part is appended to the full music score in the pdf download.
This is an arrangement for tuba with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the tuba part is only sounded on the repeat and some performers cut out 4 beats in the link between bars 9 and 10. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A tuba part is appended to the full music score in the pdf downloaded a piano accompaniment is also available.
This is an arrangement for trumpet in Bb with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the trumpet part is only sounded on the repeat and some performers cut out 4 beats in the link between bars 9 and 10. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A trumpet part is appended to the full music score and a piano accompaniment is available to download.
This is an arrangement for brass quintet comprising two trumpets in Bb, horn in F (French horn), trombone and tuba of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the trumpet part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the players and has been well rehearsed. Individual parts for each of the instruments are appended to the full score.
The Sonata in D by Mateo Albéniz is a binary form (AB) work that is essentially in 6/8 but explores the characteristic 3/4 v 6/8 rhythmic shapes of Spanish music. Often these are explored in adjoining bars and sometimes even in the same bar. It is music of joy and energy more baroque than classical as one would expect from a composer working at a distance from the main centres of European music. As a piano piece it does have something of the lightness of a Mozart movement but coloured with reference to the phyrgian mode that help give the music its Spanish character. The music editor prefers a consistent approach to the playing of the ornaments which have been written out in full in the score and a lightness of touch is essential if rhythmic accuracy is to be communicated. The realisation plays at a tempo of 124 dotted quarter (crotchet) notes to the minute and the repeats are played. Some score detail in respect to phrasing has been indicated in the edited music score whilst a plain score is also attached enabling to add score details as they wish. There are one or two alternative options indicated by the ossia staves and they are in place essentially to draw awareness to inconsistencies that exist in the score. In addition, the music editor could suggest that bars 9 and 13 be mirrored in the closing section at bar 85 and 90 although pianists play the music as notated in the score. Sometimes the left hand is required to play notes that have been notated in the treble clef. Keyboard players who do their listening research will discover that there are options as far as adding additional ornaments in their performances which is perfectly permissible in the repeat sections. Again as in most music of this time it is difficult to find two performers approaching the playing of ornaments in the same way. There are versions of this music for classical guitar and also harp.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. In this arrangement for flute, acoustic guitar and string/upright bass individual parts are appended to the full score. There are particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for two marimba players and upright/string bass individual parts for the three instruments are appended to the full score.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. In this arrangement for flute, acoustic guitar and string/upright bass individual parts are appended to the full score. There are particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for flute, acoustic guitar and upright/string bass individual parts for the three instruments are appended to the full score. The acoustic guitar part plays a combination of countermelodies and chords.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. In this arrangement for mandolin, acoustic guitar and string/upright bass individual parts are appended to the full score. There are particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for mandolin, acoustic guitar and upright/string bass individual parts for the three instruments are appended to the full score. The acoustic guitar part plays a combination of countermelodies and chords.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. In this arrangement for mandolin, acoustic guitar and string/upright bass individual parts are appended to the full score. There are particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for marimba, acoustic guitar and upright/string bass individual parts for the three instruments are appended to the full score. The acoustic guitar part plays a combination of countermelodies and chords.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino or Portuguese ukulele which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for two acoustic guitars and upright/string bass individual parts for the three instruments are appended to the full score with the guitar parts notated conventionally and with TAB. The acoustic guitar 2 part plays a combination of countermelodies and chords.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino or Portuguese ukulele which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for two acoustic guitars and upright/string bass individual parts for the three instruments are appended to the full score. The acoustic guitar 2 part plays a combination of countermelodies and chords.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. In this arrangement for mandolin, acoustic guitar and string/upright bass individual parts are appended to the full score. There are particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for violin, acoustic guitar and upright/string bass individual parts for the three instruments are appended to the full score. The acoustic guitar part plays a combination of countermelodies and chords.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. A marimba part is appended to the full score.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. Some performers play the repeat of the C section at the octave as indicated in the score but this is optional.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A and understood to be in rondo form. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. A violin part is appended to the full score.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. A bassoon part is appended to the full score.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. Some performers play the repeat of the C section at the octave as indicated in the score but this is optional. An soprano saxophone part is appended to the full score.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. A tenor saxophone part is appended to the full score.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. Some performers play the repeat of the C section at the octave as indicated in the score but this is optional. An alto saxophone part is appended to the full score.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. An oboe part is appended to the full score.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. Some performers play the repeat of the C section at the octave as indicated in the score but this is optional. A flute part is appended to the full score.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. From bar 38 there is the option of playing the repeat of the C section at the octave as indicated in the score. A clarinet part is appended to the full score.
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembered particularly for his operas. His keyboard music was played on both the piano and the harpsichord and several pieces have been transcribed for the classical guitar. This short movement requires a legato touch and the realisation plays at 42 dotted quarter (crotchet) beats to the minute. The ornaments are played quickly and start on the beat and whilst not indicated in the score some limited use of the sustaining pedal is suggested. From the performance point of view the rhythmic shape of the left hand part needs to be constant. The Siciliana rhythmic shape is best described as a slow lilting pattern in 6/8 or 12/8 time and has proved a popular template since baroque times. It can described as a slow jig. Cimarosa’s keyboard music is well worth investigating although his work still needs to be authenticated. The keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found in recordings are editorial. They are works with appeal and consistent in their quality. There is some suggested fingering on the edited music score whilst a plain score is also appended.
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. Some performers play the repeat of the C section at the octave as indicated in the score but this is optional.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of F and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A bassoon part is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of Eb and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A tenor saxophone part appropriately transposed is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of Eb and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An alto saxophone part appropriately transposed is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of F and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A soprano saxophone part appropriately transposed is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An English horn part appropriately transposed is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847 who had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst the realisation sounds in the key of F and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An oboe part is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847 who had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb and the realisation sounds in the key of G and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An individual flute part is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 80 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A tuba part is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 80 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A trombone part is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 80 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A horn in F (French horn) part appropriately transposed is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A trumpet in Bb part appropriately transposed is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A violoncello part is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A violin part is appended to the full score.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst the realisation plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A piano version in the key of F is is appended to the Eb score to encourage playing in a range of keys.
This is an arrangement for mandolin, acoustic guitars and upright or string bass with the score formatted as a one document pdf file with individual parts for the three instruments appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays back at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly in this sunny piece.
This is an arrangement for two acoustic guitars and string or upright bass with the score formatted as a one document pdf file with individual parts for the three instruments appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays back at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly in this sunny piece.
In this arrangement for clarinet quartet the specified instruments are three clarinets in Bb and a bass clarinet. The score is formatted as a one document pdf file with individual parts appropriately transposed for the four clarinets appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D it plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly.
In this arrangement for clarinet quartet the specified instruments are three clarinets in Bb and a bass clarinet. The score is formatted as a one document pdf file with individual parts appropriately transposed for the four clarinets appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D it plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly.
In this arrangement for string quartet the specified instruments are 2 violins, viola, tenor and violoncello. The score is formatted as a one document pdf file with Individual parts for the four string instruments appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D it plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly.
In this arrangement conceived for 4 marimba players with two instruments available. Marimba parts 1 and 2 are scored in the treble clef and parts 3 and 4 in the bass clef. The score is formatted as a one document pdf file with individual parts for the marimba players appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D it plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly.
This is an arrangement for marimba, acoustic guitar and upright often described as string bass with the score formatted as a one document pdf file with individual parts for the three instruments appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays back at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly in what is a sunny piece.
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of Eb and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A clarinet in Bb part appropriately transposed is appended to the full score.
This is an arrangement for three acoustic guitars with the score formatted as a one document pdf file with individual parts for the three acoustic guitars appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays back at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly in this sunny piece.
In this arrangement for saxophone quartet the specified instruments are soprano, alto, tenor and baritone saxophones. The score is formatted as a one document pdf file with individual parts for the four saxophones appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb which is the sounding key of this realisation playing at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly in this sunny piece.
This is an arrangement for three acoustic guitars with the score formatted as a one document pdf file with individual parts for the three acoustic guitars with TAB appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays back at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly in this sunny piece.
One of the jewels of music originating as a guitar solo and composed in 1909 by the Mexican composer Manuel Ponce. This is simply beautiful music exploring the three in a bar, two in a bar rhythmic pattern so characteristicic of Spanish and South American music. Whilst the melody is predominantly diatonic the harmony is chromatic particularly at the start of the second section. The melodic line does need to predominate particularly in the chromatic section from bar 10. There are some ambiguities in the score in respect to tied notes although the music editor has been guided by the guitar copy of the score. The tempo of the realisation is 110 dotted quarter notes (crotchet) beats to the minute whilst there is opportunity for the tempo to ebb and flow as if the performance is being sung.
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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as dance sets. In this two part arrangement for flute and acoustic guitar, the flute plays the melody and the guitarist accompanies with chords. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed as such by the instrument being played, the music tradition 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. Three guitar accompaniments are available, with repeats, playing chords at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play.
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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for tin whistle in G and acoustic guitar, the tin whistle plays the melody and the guitarist accompanies with chords. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition 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. Three guitar accompaniments are available, with repeats, playing chords at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute.There is two bar click track introduction before the music starts to play.
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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for tenor recorder and acoustic guitar, the recorder plays the melody and the guitarist accompanies with chords. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition 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. Three guitar accompaniments are available, with repeats, playing chords at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play.
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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for mandolin and acoustic guitar conventionally notated players should try and develop their memory and ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition 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. Three accompaniments are available, with repeats, with the acoustic guitar playing the bass line at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play.
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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for mandolin and acoustic guitar with TAB players should try and play from memory and develop their ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition 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. Three guitar accompaniments are available, with repeats, playing the bass line at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play.
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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for two acoustic guitars performers should try and play from memory and develop their ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition 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. Three accompaniments are available, with repeats, with the acoustic guitar playing the bass line at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play.
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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for two acoustic guitars with TAB players should try and play from memory and develop their ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition 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. Three accompaniments are available, with repeats, with the second acoustic guitar playing the bass line at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play.
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 personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. This arrangement is notated conventionally and players will move on to possibly explore the folk rock style in their ensemble playing. The realisation 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. The score is presented with minimal score detail as is usually the case with folk music. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition 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. Three accompaniments are available, with repeats, with the bass guitar playing the bass line at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play.
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 personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. This arrangement includes both conventional notation and TAB and players can possibly explore the folk rock style in their ensemble playing. The realisation 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. The score is presented with minimal score detail as is usually the case with folk music. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition 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. Three accompaniments are available, with repeats, with the bass guitar playing the bass line at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute.There is two bar click track introduction before the music starts to play.
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 personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Much folk music is played from memory and this and ensemble playing should be encouraged. The realisation 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. The score is presented with minimal score detail as is usually the case with folk music. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition 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. Three accompaniments are available, with repeats, with the upright bass playing the bass line at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play.
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 both encourage fitness. 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 when performing this style of music. In this arrangement for clarinet in Bb and bass clarinet in Bb the realisation 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 and there is no ornamentation of the melodic line in this two part version. Folk music scores are generally presented with minimal score detail as is the case with this score. 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 both geography and even 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. Three accompaniments are available, with repeats, with the bass clarinet playing the bass line at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play.
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 encourage fitness. 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 when performing music in this style. In this arrangement for oboe and bassoon the realisation 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 and there is also no ornamentation of the melodic line in this two part version. Understand that folk music scores are generally presented with minimal score detail. 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 even 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. Three accompaniments are available, with repeats, with the bassoon playing the bass line at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play.
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 encourage fitness. 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 in any performance situation. The realisation 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 and there is no ornamentation of the melodic line in this two part version. The playback sounds are of a marimba but there may be other instrument options available to the percussionists to try. Understand that folk music scores are generally presented with minimal score detail. 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. Three accompaniments are available, with repeats, with the violoncello playing the bass line at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play.
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 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 and there is no ornamentation of the melodic line in this two part version. The violinist may want to play the repeats at the octave and the playback sound of the violoncello is a pizzicato sound which the player can of course change especially if repeats are played. Folk music scores are generally presented with minimal score detail as is the case in this score. 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. Three accompaniments are available, with repeats, with the violoncello playing the bass line at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play.
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep them fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged. The realisation of this two part version with letter names in the note heads plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line in this version which has vamped chords to accompany the melody. Folk music scores are generally presented with minimal score detail although this score has both letter names of the notes in the notepad and suggested finger to encourage the beginner player to make rapid progress. Understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music.
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.
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep them fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged. The realisation of this two part plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet fee as heard in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line in this two part version. Folk music scores are generally presented with minimal score detail although in this score there is some suggested fingering. Understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for violoncello and acoustic guitar is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for violin and acoustic guitar is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. The violin player has the option of playing the repeat of the chorus at the octave.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for oboe and acoustic guitar is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for flute and acoustic guitar is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. The flute player has the option of playing the repeat of the chorus at the octave.
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arrangement for violoncello and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played & performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A violoncello part is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arrangement for violoncello and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played & performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A violinpart is appended to the full score whilst the player has the option of performing the repeat of the chorus at the octave.
This is a very popular piece of music that in many respects transcends idiom, style and it could be suggested culture. This improver level arrangement for brass quartet of trumpet, horn in f, trombone & euphonium or tuba is in common time while 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. The full score includes a piano short score and individual parts for the 4 brass instruments are appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style and it could be suggested culture. This improver level arrangement for clarinet choir of 3 clarinets in Bb and bass clarinet 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. The full score includes a piano short score and individual parts for the three clarinets in Bb and bass clarinet are appended to the full score.
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.
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.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for trumpet in Bb and piano sounding in the key of Eb is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A trumpet in Bb appropriately transposed is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for euphonium and piano sounding in Eb is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A euphonium part is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for baritone horn and piano sounding in Eb is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if is an possible to recruit a percussion player. A baritone horn part appropriately transposed is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for trombone and piano in the key of F is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A trombone part is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for tenor and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A tenor horn part appropriately transposed is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for trumpet in Bb and piano sounding in the key of F is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A trumpet in Bb appropriately transposed is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for horn in F (French horn) and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A horn in F part appropriately transposed is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arrangement for bassoon and piano sounding in the key of G is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played & performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A bassoon part is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for tenor saxophone and piano sounding in the key of F is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A tenor saxophone part appropriately transposed is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for alto saxophone and piano sounding in the key of F is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. An alto saxophone part appropriately transposed is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for soprano saxophone and piano sounding in the key of F is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A soprano saxophone part appropriately transposed is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for bass clarinet and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A bass clarinet part appropriately transposed is appended to the full score. The sounding key is F.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for clarinet in Bb and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A clarinet in Bb part appropriately transposed is appended to the full score. The sounding key is F.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for oboe and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. An oboe part is appended to the full score.
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for flute and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A flute part is appended to the full score. Playing the second chorus at the octave is also an option
This is a very popular piece of music that in many respects transcends idiom, style & it could be suggested culture. This improver level arrangement is in common time while some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary style. There are so many interpretations that it is almost impossible to decide how it should be sung, played & performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. This arrangement explores a gentle rock style whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar. The full score includes a piano short score and individual parts for soprano, alto, tenor and baritone saxophone are appended to the full score.
This is a full version of the Pavan for flute with piano accompaniment based on the piano and SATB vocal arrangement by the composer. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 84 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. A flute part is appended to the full score.
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.
This is intermediate level arrangement for violoncello with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by the composer. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. A violoncello part is appended to the full score.
This is intermediate level arrangement for trombone with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by the composer in the key of F minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. A trombone part is appended to the full score.
This is intermediate level arrangement for soprano saxophone with piano accompaniment based on a cut down version of the piano and SATB vocal arrangement by the composer transcribed to the key of F minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. An soprano saxophone part appropriately transposed is appended to the full score.
This is a full version of the Pavan for oboe with piano accompaniment based on the piano and SATB vocal arrangement by the composer sounding in the original key of F# minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 84 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. An oboe part is appended to the full score.
This is intermediate level arrangement for clarinet in B flat sounding in the key of F minor with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by the composer. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the E# beginning and ending with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. This is an excellent piece for exploring the tonal range of the piano but avoid playing the quieter sections too loudly. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. A clarinet in B flat part is appended to the full score.
This is intermediate level arrangement for clarinet in A with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by the composer in the original key of F# minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the E# beginning and ending with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. This is an excellent piece for exploring the tonal range of the piano but avoid playing the quieter sections too loudly. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. A clarinet in A part is appended to the full score.
This is intermediate level arrangement for bassoon with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by the composer in the original key of F# minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. A bassoon part is appended to the full score.
This is intermediate level arrangement for alto saxophone with piano accompaniment based on a cut down version of the piano and SATB vocal arrangement by the composer. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. An alto saxophone part appropriately transposed is appended to the full score. The sounding key is F minor.
This is intermediate level arrangement for flute with piano accompaniment is based on a cut down version of the piano and SATB vocal arrangement by the composer in the original key of F# minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. A flute part is appended to the full score.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instruments. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The players have the option of playing the repeat whilst a baritone horn part is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement for trombone and piano is in 6/8 time whilst the realisation plays at 48 dotted quarter (crotchet) beats to the minute. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The repeat is optional whilst a trombone part is attached to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel The repeat is optional and a trumpet in B flat part is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The repeat is optional and a horn in F (French horn) part is appended to the full score. There are three piano accompaniments available at tempi of (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instruments. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The tenor player has the option of playing the repeat whilst a tenor horn part is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The marimba player has the option of playing the repeat chorus at the octave. There is also supporting TAB for the guitar player. There are three guitar accompaniments available at tempi of (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The repeat is optional whilst a viola part is appended to the full score.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The violinist has the option of playing the repeat of the chorus an octave higher. The repeat does not sound in the realisation whilst a violin part is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The repeat is optional whilst a violoncello part is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
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 supporting TAB for the guitar player. There are three accompaniments featuring an acoustic guitar playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
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.
In this arrangement for flute accompanied by two acoustic guitars, one guitar plays chords with standard guitar tuning whilst the other has its sixth string tuned to D, (usually described as dropped down D tuning) and plays a patterned accompaniment. 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. In this arrangement the accompanying chords have been updated to make the setting more contemporary. There is no introduction in order to keep the phrase structure balanced. There are three accompaniments featuring two acoustic guitars playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. A tenor saxophone part appropriately transposed is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. An alto saxophone part appropriately transposed is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as usually as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. A bass clarinet part appropriately transposed is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as usually but some of the accompanying chords have been updated to give a more contemporary feel. A bassoon part is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. A soprano saxophone part appropriately transposed is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. A clarinet in Bb part appropriately transposed is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. An oboe part is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. The flautist has the option of playing the repeated chorus an octave higher as in the realisation. A flute part is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute.
This is an intermediate level piano arrangement based on the piano and SATB vocal arrangement by the composer. The layout is intended to clarify the voicing of the music. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the E# beginning and ending with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. One of the playing challenges is that the same note can be sounded in a different part. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. This is an excellent piece for exploring the tonal range of the piano but avoid playing the quieter sections too loudly. Playing the first section from bar 1 – 42 ending on the chord at the beginning of bar 42 works well as a “short version” of the movement.
An arrangement for viola and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A viola part is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel.
An arrangement for violoncello and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A violoncello part is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel.
An arrangement for violin and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and whilst octave playing is explored it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A viola part is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel.
An arrangement for horn in f (French horn) and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A horn in F part appropriately transposed is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel.
An arrangement for bassoon and piano of this popular English folk song in the dorian mode although the key note is E. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A bassoon is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel.
An arrangement for soprano saxophone and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A soprano saxophone part appropriately transposed is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel.
An arrangement for clarinet in B flat and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A clarinet in B flat part appropriately transposed is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel.
An arrangement for oboe and piano of this popular English folk song in the dorian mode with the keynote being E. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. An oboe part is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel.
An arrangement for flute and piano of this popular English folk song in the dorian mode with the key note being D. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins in the English ballad culture of many centuries ago. A flute part is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minim) beats to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel.
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for clarinet in B flat and piano the playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 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.
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for violin and piano in the key of G the intended playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 75 start on the note. A solo violin part is appended to the full score.
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for clarinet in B flat and piano the playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 75 start on the note. A soprano saxophone part appropriately transposed is appended to the full score.
A theme and 10 variations selected from the set of twenty four published 1770. The writing suggests the music was intended for both the harpsichord and fortepiano. The editor has selected variations particularly appropriate to the development of piano technique and has avoided including variations which are more baroque in character and suited to being played on the harpsichord. The musical content is both charming and appealing, well suited to developing technical skills and musical memory. The tempo of the theme is played at 76 quarter notes to the minute and generally, the tempo of the variations remains the same with the minor variation possibly played a little slower. The ornamentation is straight forward and the sheet music score has ossia staves with some of the ornaments written out in full. No pedal markings have been notated in the score although some use of the sustaining pedal may be used. This is excellent music for developing keyboard technique and the music editor is surprised that the movement is not more widely known. The German title for this music is Variationen über das lied "ich schlief, da träumte mir”.
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.
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for clarinet in B flat and piano the playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 75 starts on the note. The clarinet player may wish to play the section from bar 49 – 63 with a staccato articulation.
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for oboe and piano the playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 75 start on the note. An oboe part is appended to the full score.
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for flute and piano the playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 75 starts on the note.
A lovely piece by Bach to encourage legato playing.
An arrangement for flute, clarinet in Bb and bass clarinet of the Little Prelude BWV 936 originally composed for the keyboard.
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to break the mood it is ideally placed as part of the repertoire in the PlentyMusic Café although it has to be confirmed whether a humorous approach to this piece is a possibility. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success.
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” which is appropriate near the end of a section and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves.There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The dynamic range in the realisation is not expressed quite as well as was intended. There are two acoustic guitar accompaniments available (1) without repeats and (2) with repeats.
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” which is appropriate near the end of a section and stringendo means progressively quickening in tempo. Ralentandos 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.nThere is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The music editor would value feedback on the notation of the mandolin part particularly in respect to the notation of the tremolos. There are two acoustic guitar accompaniments available (1) without repeats and (2) with repeats.
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. Marimba players may wish to share the part playing when the repeats are played. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! There are marimba accompaniments available (1) without repeats and (2) with repeats.
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the section between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The arrangement in the music editor’s view works well for the instrument combination and would be interested in receiving feedback. There are two acoustic guitar accompaniments available (1) without repeats and (2) with repeats.
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the section between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! There are two acoustic guitar accompaniments available (1) without repeats and (2) with repeats.
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!
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The harmonics sound at pitch but the limitations of the sampling library means that true harmonics are not being sounded. A violoncello part is appended to the full score. There are two accompaniments available (1) without repeats and (2) with repeats.
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The harmonics sound at pitch but the limitations of the sampling library means that true harmonics are not being sounded. A viola part is appended to the full score. There are two accompaniments available (1) without repeats and (2) with repeats.
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The harmonics sound at pitch but the limitations of the sampling library means that true harmonics are not being sounded. A violin part is appended to the full score. There are two accompaniments available (1) without repeats and (2) with repeats.
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! A marimba part is appended to the full score. There are two accompaniments available (1) without repeats and (2) with repeats.
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! A tuba part is appended to the full score. There are two accompaniments available (1) without repeats and (2) with repeats.
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The trombone part notated in the bass and tenor clef is appended to the full score. There are two accompaniments available (1) without repeats and (2) with repeats.
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! A bassoon part is appended to the full score. There are two accompaniments available (1) without repeats and (2) with repeats.
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! A baritone saxophone part is appended to the full score.
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The small ornamental notes do not sound in the realisation. An alto saxophone part appropriately transposed is appended to the full score. There are two accompaniments available (1) without repeats and (2) with repeats.
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 but soon quicken to an Allegro vivace tempo. Everyone needs to enjoy a performance of this music. The simple advice is to make your performance your own! A clarinet part is appended to the full score. There are two accompaniments available (1) without repeats and (2) with repeats.
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! There are octave transpositions in the flute part although the one in the closing section is a purely optional challenge! A flute part is appended to the full score. There are two accompaniments available (1) without repeats and (2) with repeats.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. When playing the piece and there are opportunities to slow the tempo at the ends of phrases which is not indicated in the score. The realisation plays back at a tempo of 110 quarter note or crotchet beats to the minute whilst the repeat is not played in the realisation but in performance can be added. The full score is presented with appended parts for the three instrumentalists with appropriate TAB scores and graphics to support the players. A different solo instrument can be substituted for the mandolin if opportunity arises. The music editor would value feedback on how the score is presented and would also appreciate suggestions on how the format could be improved. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance!
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A tuba part is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases which is not indicated in the score. A tempo of 96 quarter note (crotchet) beats is used in the playback in this version which is in the key of D. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases which is not indicated in the score. A tempo of 96 quarter note (crotchet) beats is used in the playback in this version which is in the key of C. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback of this arrangement. A violoncello part is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback of this arrangement which is in the key of G. A viola part is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A violin part is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A baritone horn part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A trombone part is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A tenor horn part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A trumpet in B flat part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A horn in F (French horn) part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A bassoon is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A tenor saxophone part appropriately transposed is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. An alto saxophone part appropriately transposed is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A soprano saxophone part appropriately transposed is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A clarinet in B flat part appropriately transposed is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given.
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. An English horn part is appended to the full score appropriately transposed. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given!
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. An oboe part is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given!
Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is played at the octave in the realisation. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A flute part is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given!
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minute is used in the realisation of this intermediate level arrangement of “Le Banjo” which dates from 1853. Whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. The arrangement has been made with the intention of presenting the music as a concert piece for the intermediate player.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A tuba part is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A euphonium part notated in the bass and tenor clef is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 84 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A trombone part is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 84 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A horn par appropriately transposed is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A double bass part notated in the treble clef (!) is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 80 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A violoncello part notated in the bass and tenor clef is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 80 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A viola part is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 80 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A violin part is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 84 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A bassoon notated in the tenor clef part is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. An alto saxophone part is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A clarinet part is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. An oboe d’amore part is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. An oboe part which features a number of octave displacements and rhythmic editing to keep to the instrument’s range is appended to the full score.
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A flute part with a number of octave transpositions allowing the soloist to keep within the range of the instrument is appended to the full score.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A horn in F part appropriately transposed is appended to the full score. The music editor is interested in hearing from horn in F (French horn) players as to other keys options for this piece because available recordings suggest that there is more than one option.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to used and generally its use is governed by the harmonic rhythm of the movement. Like many French composers he was a very fine organist Many musical commentators suggest that Saint-Saens music is deserving of being explored for its high quality and variety. A baritone part appropriately transposed in the treble clef is appended to the full score. The music editor is interested in hearing from baritone horn players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of Bb and utilizes the Sibelius tuba sound in the realisation.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to used and generally its use is governed by the harmonic rhythm of the movement. Like many French composers he was a very fine organist Many musical commentators suggest that Saint-Saens music is deserving of being explored for its high quality and variety. A tenor horn part appropriately transposed is appended to the full score. The music editor is interested in hearing from tenor horn players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of F and utilizes the Sibelius tuba sound in the realisation.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A trombone part is appended to the full score. The music editor is interested in hearing from trombone players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of F.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A trumpet in Bb part appropriately transposed is appended to the full score. The music editor is interested in hearing from trumpet players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of F.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A trumpet in Bb part appropriately transposed is appended to the full score. The music editor is interested in hearing from trumpet players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of A flat
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A euphonium part notated in the bass and tenor clefs is appended to the full score.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A violoncello part notated in the tenor clef is appended to the full score.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A viola part is appended to the full score.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A violin part is appended to the full score.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. An alto saxophone part appropriately transposed is appended to the full score.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety.A tenor saxophone part appropriately transposed is appended to the full score.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A bassoon part notated in the tenor clef is appended to the full score.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A soprano saxophone part is appended to the full score.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A clarinet in Bb part is appended to the full score.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. An English horn part is appended to the full score.
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. An oboe part is appended to the full score
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its high quality and variety. A solo flute part is appended to the full score.
This movement is the third and last movement of a sonata published as part of a collection of harpsichord sonatas in 1742. Whilst there is evidence in the score of its harpsichord origins it is nevertheless a piece very suited to being performed on a modern piano. The counterpoint or combination of lines of music lines is a particularly strong element in the composition. A tempo of 132 quarter note (crotchet) beats to the minute is used in the realisation although a target of 120 quarter note (crotchet) beats to the minute is probably a fair target in the first instance. Contemporary performances of the piece generally have the first section repeated and the second section played without a repeat. There is quite an amount of dramatic tension in the music arising from the detached notes and the concise two bar phrasing suggesting at times an almost hushed urgency. The ornaments include trills which start on the note, crushed notes or acciaccaturas and the odd appoggiatura which have sometimes been written out as in bar 7. The ornaments in the section from bar 86 to 91 are best played as crushed notes giving the music a more classical spirit to it although in some scores they are notated as appoggiaturas. The music editor always references contemporary performance practice when preparing scores and favours crushed notes in this instance. As usual the music editor has been very consistent in his approach to ornamentation and advises players to keep matters as simple and straightforward as possible. Keep the trills metrical and the editor suggests that it is best to avoid a triplet ending to the trills although they are inclined to sneak in to ones playing almost unnoticed. Spread chords are a feature and some work is required to sort out the sharing of the work load between the two hands. This is an excellent example of music that is for want of a better description is pre-classical composed in the period between the baroque and classical era. C. P. E. Bach’s music is deserving of being played and listened to more regularly in what is one of the most interesting and fascinating times in music history. The music editor is keen to hear that this piece is being played and would value receiving feedback. Whilst a sheet music score has been prepared as if the piece is a classical work there is a plain score appended to the edited music score.
A fugue is not strictly a musical form but more a compositional style in which the process of imitation dominates in voices or lines of music described as counterpoint. Understand that the musical conception is in lines. The realisation plays back at 100 dotted quarter notes to the minute. The music editor suggests that if you have the technique and composure try to get to 110 dotted quarter notes to the minute as the music then really does seem to come alive. The dynamic range of this work is very much determined by the texture which varies from a single voice to four voices in varying combinations. In music of this time the score detail tends to be quite minimal and this score keeps to that practice. Buxtehude’s position in music history has resulted in him being overshadowed by J. S. Bach but Buxtehude composed many fine keyboard works that transcribe well to the piano. This is an uplifting piece to both listen to and play having the rhythmic template of a jig and a “modern” sound attributable to the tonal ambiguities that result from the conflicting accidentals often in different lines of the music. For those interested in finding out more about this look up the term “false relation.” The subject entries need to be clearly articulated and a sense of forward movement needs to be communicated at all times by the piano/keyboard player. In terms of the music setting there are some indications in the score as to which hand plays which line of the music and the player needs to have a clear understanding of the division of labour between the two hands. Ornaments do not feature in the score but can be added at the performers discretion once a clear understanding of the options have been appreciated from listening and analysing recordings and performances.
A dramatic and spirited movement which whilst very different texturally to Beethoven’s music harmonically it does point in his direction. In character the music is almost a conversational piece although formally it can be described as a rondo which is a piece with a recurring theme. The phrase structure is not particularly regular and there are several changes of mood in the various section although the main thematic motive is always clearly recognisable. The sheet music score has been prepared for the performance on the piano and only limited use of the sustaining pedal is suggested. For clarity the music editor suggests essentially the one ornament shape when performing the work which reflects current practice in the interpretation of music of this period. Too many different ornaments can be distracting both to the performer and listener alike. The opening ornaments are notated on ossia staves and the player should continue with the same shapes through the movement. The slight slowing down appropriate at the ends of the phrases are not marked in the score. There are recordings available of this work played on the modern piano, fortepiano and the harpsichord. C.P.E Bach was a prolific composer and an important transition figure in music history linking the baroque with the classical age in music history. He was very aware of contemporary practice and contributed much to developing style and form although at the same time he was able to remain surprisingly free spirited. C.P. Bach’s music is worthy of attention and for piano players there is a wealth of excellent music for the developing pianist. This work composed in 1786 and published in 1787 comes from period near the end of his life.
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to change the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. The bassoon and guitar part share a score and the guitarist may want to simply some of the chord voicing particularly if the piece is being played at a fast tempo. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success.
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to change the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. The marimba and guitar part share a score and the guitarist may want to simply some of the chord voicing particularly if the piece is being played at a fast tempo. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. For the pitched percussionist the music editor has avoided using tremolos on the half notes in bars 25 and 26 (+ repeats of these bars through the piece) although players may well want to use this technique in a performance.
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to change the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. The flute and guitar part share a score and the guitarist may want to simply some of the chord voicing particularly if the piece is being played at a fast tempo. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success.
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the score in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious to the point of being humorous. The formal model is that of the American march and the music can best described as being an example of early “light music.” As a piece intended to break or change a mood it is ideally placed as part of the repertoire in the PlentyMusic Café. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. For the pitched percussionist the music editor has avoided using tremolos on the half notes in bars 25 and 26 (+ repeats of these bars through the piece).
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to change the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. The violoncello part notated in the tenor and bass clefs and a violoncello part is appended to the full score. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success.
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece its intention is to break the mood and for this reason is ideally placed as part of the repertoire in the PlentyMusic Café area of study. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. A trombone part is appended to the full score.
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to break the mood it is ideally placed as part of the repertoire in the PlentyMusic Café although it has to be confirmed whether a humorous approach to this piece is a possibility. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success.
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is that of the American march and it can be best described as an example of early “light music.” As a piece composed with the intention of changing the mood it is ideally placed as part of the repertoire in the PlentyMusic Café although it has to be confirmed whether a humorous approach to this piece is a possibility on the oboe. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success.
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the score in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious to the point of possibly being humorous. The formal model is that of the American march and the music can best described as being an example of early “light music.” As a piece composed with the intention of changing the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success.
A movement with beauty, shape and a sense of space. The imitation principle is understandably very strong in this work composed, the music editor understands, when Schumann was intent on restoring rigour and confidence to his own compositional process. For the players there is surprisingly intensity and discipline needed to play this relatively short movement. Whilst this music references the past there is a romantic twist or two in the harmonic language. A tempo of 84 quarter note (crotchet) beats to the minute is used in the realisation. Trills begin on the note and have been written out in the first section of the score in the ossia staves. Understand that the melodic and rhythmic shapes of the ornaments are constant throughout the whole movement. The French word for study is Etude and those who develop or have developed a keen interest in music will be very aware of the many musical challenges associated with this word! Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently arranged for piano duet / piano four hands by Georges Bizet. There are also other versions for organ, two pianos and string quartet.
J.C.F.Bach was the fourth and youngest composing son of J.S.Bach. Many songs in different languages have been based on this familiar French song known as "Ah! vous dirai-je, maman" including "Twinkle, Twinkle, Little Star" and "Baa, Baa, Black Sheep." These set of variations provide an excellent summary of keyboard technique available and used during the late baroque/ early classical period. The score has been prepared for performance on a modern piano. The pianist may want to add some sustaining pedal particularly in Variations 4, 8, 9 and 10 although pedal markings are not indicated in the score. The changing meters does add a complication as to how the bars of music are counted. Understand that each variation has its own tempo. When playing variations don’t think that all variations need to be played at the same tempo. The ornament used in this set of variations is an upper mordent comprising the note, the note above and then the note itself again. Most of the musical content is classical in spirit and the phrase structure is understandably symmetrical which makes it a good piece to memorise. The score also has some suggested fingering. The music editor suggests that when performing the variations it would good idea to choose a selection of the variations to play. Suggested performances patterns could be: Option 1 Theme + Var. 1 + Var. 2 + Var. 3 + Var. 4 + Var. 5 + Var. 9 and for Option 2 Theme + Var. 7 + Var. 8 + Var. 9 + Var. 10 + Var. 11 + Var. 12.
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece it intended to break a mood it is ideally placed as part of the repertoire in the PlentyMusic Café although there is also a version for piano duet / piano four hands on the website. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914.
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece it intended to break a mood it is ideally placed as part of the repertoire in the PlentyMusic Café although its first entry on the website is as a piano duet. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914.
Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music was played on both the piano and the harpsichord whilst many pieces have been transcribed for the classical guitar. Most of his keyboard movements requires a lightness of keyboard touch - the realisation plays at 92 quarter (crotchet) beats to the minute. In the hands of a skilled player thoroughly conversant with keyboard style of the period there are opportunities to embellish the melody line and add additional ornaments. The music is full of charm and musical ideas offering the opportunity to develop staccato, staccatissimo and legato playing. The music editor suggests that generally on repeating notes changing the finger used on each note is the best option. Cimarosa’s keyboard music is well worth investigating although authentication of his work is a something yet to be confirmed. Understand that the keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found on recordings are editorial. They are works with appeal and consistent in their quality. A plain score is appended to the edited music score.
Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music was played on both the piano and the harpsichord whilst many pieces have been transcribed for the classical guitar. This short movement requires a lightness of touch - the realisation plays at 86 quarter (crotchet) beats to the minute. This relatively short movement is music that is full of charm and musical ideas offering the opportunity to develop staccato, staccatissimo and legato playing. The music editor suggests that generally on repeating notes as found in the accompaniment changing the finger used on each note is the best option. However, the fingering patterns can be changed particularly with the running thirds in the last section of the composition. Secure fingering needs to be in place when performing the movement and the best advice or working principle is to avoid the use of the thumb on the black notes especially when playing thirds. Cimarosa’s keyboard music is well worth investigating although authentication of his work is a something yet to be confirmed. Understand that the keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found on recordings are editorial. They are works with appeal and consistent in their quality. A plain score is appended to the edited music score.
Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music was played on both the piano and the harpsichord and many pieces have been transcribed for classical guitar. The score for the Sonata in C minor and the realisation is a straightforward “translation” of the score. The movement has poise defined very much by the choice of C minor as the key and the quite symmetrical rhythmic shapes and patterns. Many performances of this particularly movement are approached more as a “free translation” in that the figuration is interpreted decoratively and much ornamentally almost to the extent of becoming an improvisation although this was an aspect of continuo playing in the baroque period. Cimarosa’s keyboard music is well worth investigating although authentication of his work is a something yet to be confirmed. The music editor has made bar 11 a two beats to the bar measure. Understand that the keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found on recordings are editorial. They are works with appeal and consistent in their quality. A plain score is appended to the edited music score.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated generally only at the beginning of scores. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. A tuba is appended to the full score.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated in the first two pages of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. A viola part is appended to the full score but the con sordina instruction at bar 69 is not actioned in the realization.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated in the first two pages of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. A violoncello part notated in the tenor and bass clefs is appended to the full score but the con sordina instruction at bar 69 is not actioned in the realization.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated generally only at the beginning of scores. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. A solo instrumental part notated in the treble and bass clef is appended to the full score. In this arrangement A minor is the chosen key although G minor is the natural and most appropriate key for the work. G minor is however a challenging key for the double bass player whilst the work is definitely playable in A minor. The music editor would appreciate receiving an informed opinion about key options for this work.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the score the most appropriate ranges of the instruments are explored and consequently there has been some simplifying of the texture in the guitar writing. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. In this arrangement A minor is the chosen key although G minor is the natural and most appropriate key for the work. G minor is however a challenging key for the guitar player whilst the work is definitely playable in A minor. The music editor would appreciate receiving an informed opinion about key options for this work and would advise that some of the chord voicing may need to further simplified.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists with several different instrument combinations. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the score the most appropriate ranges of the instruments are explored and consequently there has been some simplifying of the texture in the guitar 2 part. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. In this arrangement A minor is the chosen key although G minor is the natural and most appropriate key for the work. G minor is however a challenging key for the guitar player whilst the work is definitely playable in A minor although some of the chord voicing in the guitar 2 part may need to further simplified. The realization features an electric and an acoustic guitar.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different forms and this is the composer’s own piano arrangement. Music such as this which has been transcribed from an arrangement to be played by a solo piano is a challenge to play because there is much detail that almost becomes hidden in the musical texture. When playing this piece on the piano it is particularly important to know where the melody is located. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. The sustaining pedal is required although this has only been indicated in the opening bars of the score. The pianist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 52 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated in the first two pages of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. A violin is appended to the full score but the con sordina instruction at bar 69 is not actioned in the realization.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated generally only at the beginning of scores. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. A solo trombone part notated using the tenor and bass clefs is appended to the full score.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated generally only at the beginning of scores. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. A solo bassoon part notated using the tenor and bass clefs is appended to the full score.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and this has been indicated in the opening bars of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. A tenor saxophone part in Bb part is appended to the full score appropriately transposed as is the same part in the full score.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and this has been indicated in the opening bars of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. A soprano saxophone part is appended to the full score appropriately transposed as is the same part in the full score.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and this has been indicated in the opening bars of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. A clarinet in Bb part is appended to the full score appropriately transposed as is the clarinet part in the full score.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and this has been indicated in the opening bars of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. An oboe part is appended to the full score.
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different forms. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated generally only at the beginning of scores. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. A solo instrumental part is appended to the full score.
This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers to explore tonal range of an instrument. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. Individual parts are appended to the full score.
This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers to explore tonal range of an instrument. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. Individual parts are appended to the full score
This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers to explore tonal range of an instrument. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. Individual parts are appended to the full score
This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of an instrument. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public.
This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of the violin. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public.
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of the solo guitar. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of different instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public.
This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of the instrument. The violoncello part is notated in the tenor clef whilst triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public.
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of the instrument. The violoncello part is notated in the tenor clef whilst triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A violoncello part is appended to the full score.
This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of the violin. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A violin part is appended to the full score.
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore the tonal range of the trombone. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. The trombone part is notated in the tenor clef and is appended to the full score.
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore the tonal range in an instrument. That said there are some octave transpositions in the bassoon. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A bassoon part notated in the tenor clef is appended to the full score.
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore the tonal range of the tenor saxophone. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A tenor saxophone part is appended to the full score.
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore the tonal range of the clarinet. That said there are some octave transpositions in the clarinet in Bb part. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A clarinet in Bb part is appended to the full score.
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore the tonal range of the instrument Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. There are some octave transpositions in the flute part. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A flute part is also appended to the full score.
This movement is in rondo form which can be represented formally by the letters ABACA - a rondo is a piece with a recurring theme having its origins as a dance.Changing the finger on a repeating note is a piano technique that can be usefully explored in this movement if only to give to a lightness to the touch which is required if the movement is to be played at tempo. In fast playing the dynamics also need to be controlled and I would avoid playing the movement too loudly. A performance tempo of 100 quarter note beats to the minute is a good first target. The realisation playback tempo is 144 quarter note (crotchet) beats to the minute with the repeats for a change played in the realisation. Ornaments and appoggiaturas are written out in the edited music score with trills beginning on the note. Understand that there are several options and solutions available as far as "suggested" fingering is concerned but it is a work in which legato, staccato and staccatissimo touches can be explored. In the repeats gifted and sensitive interpreters of Haydn's music add additional ornaments and figurations whilst possibly varying the dynamic and tempo but all keeping to the musical style. This is an excellent piece for developing musical memory and when possible players should try and put the sheet music aside. The movement composed in the late 1770's has more than a suggestion of the spirit of the composer and his evident humour. A plain score is also appended to the edited sheet music score allowing the player some flexibility in their approach.
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 69 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure's music is also evident.
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 66 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure's music is also evident. The solo cello part is marked con sordino although this doesn't feature as the sound in the realisation - the solo part is also appended to the full score.
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 66 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure's music is also evident. The solo violin part is marked con sordino although this doesn't feature as the sound in the realisation - the solo part is also appended to the full score.
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 66 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. The modal element that features in much of Faure's music is also evident in this arrangement. Players may like to explore the octave options, the use of harmonics and the voicing of the final chord. Individual instrument parts are appended to the full score.
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening too abruptly. The realisation plays at 66 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. The modal element that features in much of Faure's music is also evident in this arrangement. Guitar players may like to explore the octave options, the use of harmonics and the voicing of the final chord. Individual guitar parts are also appended to the full score.
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 69 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the piano score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure's music is also evident. There are some octave transpositions in the oboe part and an oboe part is appended to the full score.
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 69 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the piano score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure's music is also evident. This arrangement explores the melody in the lower octave range with tenuto markings included in the score. A flute part is appended to the full score.
A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 69 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure's music is also evident. This arrangement explores the upper range of the instrument with the tenuto markings omitted from the score. A flute part is appended to the full score.
This is a pianistic and surprisingly technically quite straight forward to play. The main challenge is playing at a consistent tempo in the loud sections. The realisation is plays at 132 quarter note (crotchet) beats to the minute although it can be played faster! A very light pianistic touch is required particularly at the tempo that this piece requires. Staccatissimo markings (a very short staccato and an identifiable keyboard touch imitating a plucking action on the keys) have been used in the score together with staccato markings indicating that a short note is to be played. Some use of the sustaining pedal is suggested particularly when arpeggiated chords are played although this has not been indicated on the score. The closing section should be played at a steady two beats in the bar feel and needs to be understood as being a link to the second slow movement of the sonata. This piece is also excellent for developing rotation skills in the wrist and forearm. C.P.E.Bach's favourite keyboard instrument was the clavichord which is a very quiet sounding instrument and it is evident from his considerable output of music that he was a very hard working musician and composer. The ornaments, apart from the crushed notes or acciaccaturas have been written out in full to add clarity to the score whilst the repeats are not played in the realisation. The music editor suggests listening to performances of this movement played on different types of keyboard instruments.
This is a piece possessing great melodic beauty and players should understand that the melody is the main musical focus in a performance. This is an Adagio movement and pianists/keyboard players should avoid playing the movement too quickly. Sadly, much of this composer's music was lost when Napoleon invaded Venice in 1796 and for the music editor this composer has been a recent discovery. The trills begin on the note whilst the spread chord does not sound as a spread chord in the in the realisation. There are some rhythmic options when playing the melody given in ossia staves. Keyboard players have wish to add additional ornaments but do ensure that these do not detract from the beauty of the melody.
The tempo indication Allegro con brio is possibly a bit on the strong side for this movement which has character and charm rather than vigour. Scherzando is a direction to play in a playful manner whilst the realisation playback tempo is 110 quarter note (crotchet) beats to the minute with the repeats not played. The realisation is functional but understandably does lack the subtlety that is communicated in a performance. Ornaments and appoggiaturas are written out in the edited music score with trills beginning on the note and having a 5 note shape reflecting current performance practice. Composed in the late 1770's the work that reminds us that Haydn's did possess a sense of humour which is often evident on his music. Understand that there are several options available as far as "suggested" fingering is concerned but it is a work in which legato, staccato and staccatissimo touches can be explored in performance. The thumb is generally avoided on the black notes and there is an opportunity to explore changing the finger on a repeating note. A source score is appended to the sheet music score allowing the player some flexibility in their approach. In the repeats gifted and sensitive interpreters of Haydn's music add additional ornaments and figurations whilst possibly varying the dynamic and tempo but all keeping with the musical style.
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.
This work provides something of a puzzle because whilst it is attributed to W.F.Bach more than likely it was composed by someone else. Understand that the Bach family and their many pupils copied and shared much music and compositions were frequently credited to the wrong person. The realisation is played without repeats and the bar 33-36 link or transition does not always appear in all printed copies. It is a short piece that has unity, concise musical ideas and appeal both for the player and the listener. Score detail is in place for performance on a piano. A plain copy of the score is also appended to the edited music score.
This piece has a misleading title because really it would be better described as a toccata. Keyboard players in the past particularly of small instruments like the clavichord were required to tune their instruments before playing them simply because instruments very quickly went out of tune. This is the origin of these "touch" or "tuning" pieces and C.P.E.Bach's Solfeggieto was composed very much in this style. Many of these touch pieces became in the hands of J.S.Bach and others very sophisticated compositions which were written down and described as toccatas. This is C.P.E. Bach's most familiar work and is an excellent piece for encouraging a light touch and dexterity in the fingers. There is a plain score appended to the edited score which the player can use if preferred.
Galuppi was an Italian composer very much associated with the city of Venice and in his life time was known particularly for his comic operas. He was a fine keyboard player and as a composer is associated with the “style galant.” movement which was an important artistic movement in the 19th century. As a result of Napoleon’s invasion of Venice in 1797 many of the composer’s manuscripts were lost. This piece that has charm and beauty reminiscent of a slow movement from a Mozart keyboard sonata. The ornaments comprise acciaccaturas (crushed notes) appoggiaturas (leaning notes) mordents and trills. The mordent is a simple note, note above, repeat of note device whilst the trills beginning on the note are longer and need to played so that the symmetry and shape of the music is maintained. There are some trills that start on the note above but these are indicated in the score. Understand that no two performers play the ornaments in the same way. A further complication is the same ornament may actually be played differently in a performance or recording and on the playing of the repeat sections additional ornaments can be added at the player’s discretion. The best advice is that if some of the ornaments are difficult to deliver leave them out but be consistent in your approach. The sheet music download comprises both a performance score and an appended realisation/recording score of the flute part to enable players to understand how the ornaments are to be played. In time, when players have an understanding of the style of this music they may well want to revise and even expand on how the ornaments are played. The tempo of the realisation is 50 quarter note (crotchet) beats to the minute and whilst the repeats are indicated in the scores they do not sound in the recording.
Galuppi was an Italian composer very much associated with the city of Venice and in his life time was known particularly for his comic operas. He was a fine keyboard player and as a composer is associated with the “style galant” movement which was an important artistic movement in the 19th century. As a result of Napoleon’s invasion of Venice in 1797 many of the composer’s manuscripts were lost. This piece that has charm and beauty reminiscent of a slow movement from a Mozart keyboard sonata. The ornaments comprise acciaccaturas (crushed notes) appoggiaturas (leaning notes) mordents and trills. The mordent is a simple note, note above, repeat of note device whilst the trills beginning on the note are longer and need to played so that the symmetry and shape of the music is maintained. There are some trills that start on the note above but these are indicated in the score. Understand that no two performers play the ornaments in the same way. A furt