Invitación by Ignacio Cervantes is a short appealing work. An intermediate level piano solo this is in the original key of Em and features the Cuban Show More...
Invitación by Ignacio Cervantes is a short appealing work. An intermediate level piano solo this is in the original key of Em and features the Cuban habanera pattern is an excellent piece for developing both solo and ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece
The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills especially if some ensemble playing is envisaged. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines.
Most of Cervantes movements are very short and benefit from being played through twice although the music editor has not actually made use of repeat signs in the music scores that have been prepared.
The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 72 quarter note beats to the minute.
The performance practice of the music of Cervantes varies particularly with regard to tempo and the use of rubato (speeding up and slowing down) and does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing.
Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music.
Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 26th June, 2023 18:06 PM |
Views : 3131
Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement with syncopated shapes that needs to be played at a consistent Show More...
Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement with syncopated shapes that needs to be played at a consistent tempo. This is the piano version in its original key with the realisation playing at a tempo of 92 quarter note or crotchet beats to the minute. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. Close
Added: 12th December, 2019 09:12 AM |
Views : 4677
This arrangement of Odeon for marimba, acoustic guitar and string/upright bass is a lively rhythmic movement full of energy featuring many syncopated Show More...
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 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 12th December, 2019 09:12 AM |
Views : 5696
This arrangement of Odeon for bass trombone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisa Show More...
This arrangement of Odeon for bass trombone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A bass trombone part part appended to the full score The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girdling or swaying in a dance context. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 13:12 PM |
Views : 4342
This arrangement of Odeon for violoncello and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisati Show More...
This arrangement of Odeon for violoncello and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music is in its original key although where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The violoncello part is notated in the tenor and bass clef and there is a part appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girdling or swaying in a dance context. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 12:12 PM |
Views : 4739
This arrangement of Odeon for trombone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation Show More...
This arrangement of Odeon for trombone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A trombone part appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 11:12 AM |
Views : 4324
This arrangement of Odeon for bassoon and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation Show More...
This arrangement of Odeon for bassoon and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The bassoon part is notated in the tenor and bass clef and a bassoon part is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 10:12 AM |
Views : 3937
Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement full of energy featuring many syncopated patterns and the real Show More...
Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement full of energy featuring many syncopated patterns and the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed down a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A baritone saxophone part appropriately transposed is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 09:12 AM |
Views : 4563
This arrangement of Odeon for alto saxophone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the reali Show More...
This arrangement of Odeon for alto saxophone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 08:12 AM |
Views : 4181
This arrangement of Odeon for clarinet in Bb and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realis Show More...
This arrangement of Odeon for clarinet in Bb and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed down a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A clarinet in Bb part appropriately transposed is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 08:12 AM |
Views : 4328
This arrangement of Odeon for flute and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation pl Show More...
This arrangement of Odeon for flute and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 92 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A flute part is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close
Added: 11th December, 2019 08:12 AM |
Views : 3934
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of F and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A bassoon part is appended to the full score. Close
Added: 27th January, 2019 19:01 PM |
Views : 4138
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of Eb and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A tenor saxophone part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 19:01 PM |
Views : 4429
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of Eb and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An alto saxophone part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 19:01 PM |
Views : 4346
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of F and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 17:01 PM |
Views : 4273
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An English horn part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 17:01 PM |
Views : 4463
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847 who had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847 who had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst the realisation sounds in the key of F and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An oboe part is appended to the full score. Close
Added: 27th January, 2019 17:01 PM |
Views : 3840
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847 who had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847 who had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb and the realisation sounds in the key of G and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An individual flute part is appended to the full score. Close
Added: 27th January, 2019 16:01 PM |
Views : 4602
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 80 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A tuba part is appended to the full score. Close
Added: 27th January, 2019 16:01 PM |
Views : 4401
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 80 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A trombone part is appended to the full score. Close
Added: 27th January, 2019 16:01 PM |
Views : 4356
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 80 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A horn in F (French horn) part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 16:01 PM |
Views : 4319
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A trumpet in Bb part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 16:01 PM |
Views : 4291
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A cello part is appended to the full score. Close
Added: 27th January, 2019 15:01 PM |
Views : 4393
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A violin part is appended to the full score. Close
Added: 27th January, 2019 15:01 PM |
Views : 4160
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst the realisation plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A piano version in the key of F is is appended to the Eb score to encourage playing in a range of keys. Close
Added: 27th January, 2019 15:01 PM |
Views : 5127
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 p Show More...
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. Close
Added: 27th January, 2019 14:01 PM |
Views : 6426
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 Show More...
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. Close
Added: 27th January, 2019 14:01 PM |
Views : 5657
In this arrangement for brass quartet the specified instruments are trumpet in Bb, horn in F (French horn), trombone and tuba. The score is formatted Show More...
In this arrangement for brass quartet the specified instruments are trumpet in Bb, horn in F (French horn), trombone and tuba. The score is formatted as a one document pdf file with individual parts appropriately transposed for the brass instruments appended to the full score. Note that horn in F part does not make use of a key signature in the appended part.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. If any re-scoring needs or changes to the instrumentation please advise the PlentyMusic office. Close
Added: 27th January, 2019 08:01 AM |
Views : 7746
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 docu Show More...
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. Close
Added: 27th January, 2019 08:01 AM |
Views : 6624
In this arrangement for string quartet the specified instruments are 2 violins, viola, tenor and violoncello. The score is formatted as a one document Show More...
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. Close
Added: 27th January, 2019 07:01 AM |
Views : 7127
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 an Show More...
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. Close
Added: 27th January, 2019 07:01 AM |
Views : 5920
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 wit Show More...
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. Close
Added: 26th January, 2019 16:01 PM |
Views : 6871
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of Eb and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A clarinet in Bb part appropriately transposed is appended to the full score. Close
Added: 26th January, 2019 14:01 PM |
Views : 4300
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 gui Show More...
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. Close
Added: 26th January, 2019 14:01 PM |
Views : 5022
In this arrangement for saxophone quartet the specified instruments are soprano, alto, tenor and baritone saxophones. The score is formatted as a one Show More...
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. Close
Added: 26th January, 2019 13:01 PM |
Views : 9145
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 gui Show More...
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. Close
Added: 26th January, 2019 13:01 PM |
Views : 4326
One of the jewels of music originating as a guitar solo and composed in 1909 by the Mexican composer Manuel Ponce. This is simply beautiful music expl Show More...
One of the jewels of music originating as a guitar solo and composed in 1909 by the Mexican composer Manuel Ponce. This is simply beautiful music exploring the three in a bar, two in a bar rhythmic pattern so characteristicic of Spanish and South American music. Whilst the melody is predominantly diatonic the harmony is chromatic particularly at the start of the second section. The melodic line does need to predominate particularly in the chromatic section from bar 10. There are some ambiguities in the score in respect to tied notes although the music editor has been guided by the guitar copy of the score. The tempo of the realisation is 110 dotted quarter notes (crotchet) beats to the minute whilst there is opportunity for the tempo to ebb and flow as if the performance is being sung. Close
Added: 18th January, 2019 16:01 PM |
Views : 5769
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to break the mood it is ideally placed as part of the repertoire in the PlentyMusic Café although it has to be confirmed whether a humorous approach to this piece is a possibility. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. Piano accompaniments are available playing at 84, 88, 92, 96 and 100 quarter note (crotchet) beats to the minute. Close
Added: 6th October, 2018 19:10 PM |
Views : 3900
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” 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) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 12:10 PM |
Views : 6922
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” 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) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 12:10 PM |
Views : 4648
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the 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) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 12:10 PM |
Views : 5205
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the 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) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 12:10 PM |
Views : 4555
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and the sections between bar 70 to 85 can be omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! Close
Added: 3rd October, 2018 12:10 PM |
Views : 5207
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The harmonics sound at pitch but the limitations of the sampling library means that true harmonics are not being sounded. A violoncello part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 12:10 PM |
Views : 4468
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The harmonics sound at pitch but the limitations of the sampling library means that true harmonics are not being sounded. A viola part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 12:10 PM |
Views : 4121
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The harmonics sound at pitch but the limitations of the sampling library means that true harmonics are not being sounded. A violin part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 3856
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! A marimba part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 4594
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! A tuba part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 3882
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The trombone part notated in the bass and tenor clef is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 3859
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! A bassoon part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 4169
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! A baritone saxophone part is appended to the full score. There are two accompaniments available one with repeats and the second without them. Close
Added: 3rd October, 2018 11:10 AM |
Views : 4023
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The small ornamental notes do not sound in the realisation. An alto saxophone part appropriately transposed is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 11:10 AM |
Views : 4440
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! There are octave transpositions in the flute part although the one in the closing section is a purely optional challenge! A flute part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 10:10 AM |
Views : 3934
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. 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! Close
Added: 2nd October, 2018 13:10 PM |
Views : 4464
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases which is not indicated in the score. A tempo of 96 quarter note (crotchet) beats is used in the playback in this version which is in the key of D. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance. Close
Added: 2nd October, 2018 12:10 PM |
Views : 4174
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases which is not indicated in the score. A tempo of 96 quarter note (crotchet) beats is used in the playback in this version which is in the key of C. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance. Close
Added: 2nd October, 2018 12:10 PM |
Views : 4365
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback of this arrangement. A violoncello part is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 4195
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback of this arrangement which is in the key of G. A viola part is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 3929
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A violin part is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 4166
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A baritone horn part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 3637
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A trombone part is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 3936
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A tenor horn part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 4170
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A trumpet in B flat part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 4358
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A horn in F (French horn) part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 3986
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A bassoon is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 11:10 AM |
Views : 3159
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A tenor saxophone part appropriately transposed is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 11:10 AM |
Views : 4078
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. An alto saxophone part appropriately transposed is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 11:10 AM |
Views : 4109
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A soprano saxophone part appropriately transposed is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 11:10 AM |
Views : 3766
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A clarinet in B flat part appropriately transposed is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 10:10 AM |
Views : 3756
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. An English horn part is appended to the full score appropriately transposed. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given! Close
Added: 2nd October, 2018 10:10 AM |
Views : 4106
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. An oboe part is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given! Pianos accompaniments are in place for this score. Close
Added: 2nd October, 2018 10:10 AM |
Views : 4212
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is played at the octave in the realisation. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A flute part is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given! Accompaniments are in place. Close
Added: 2nd October, 2018 10:10 AM |
Views : 3948
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A tenor saxophone part appropriately transposed is appended to the full score. There are fouraccompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. Close
Added: 1st June, 2018 11:06 AM |
Views : 4291
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to change the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. The 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. Close
Added: 30th April, 2018 10:04 AM |
Views : 4366
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to change the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. The 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. Close
Added: 30th April, 2018 10:04 AM |
Views : 4575
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to change the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. The 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. Close
Added: 30th April, 2018 10:04 AM |
Views : 4429
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the score in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious to the point of being humorous. The formal model is that of the American march and the music can best described as being an example of early “light music.” As a piece intended to break or change a mood it is ideally placed as part of the repertoire in the PlentyMusic Café. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. For the pitched percussionist the music editor has avoided using tremolos on the half notes in bars 25 and 26 (+ repeats of these bars through the piece). Piano accompaniments are available playing at 84, 88, 92, 96 and 100 quarter note (crotchet) beats to the minute. Close
Added: 30th April, 2018 09:04 AM |
Views : 4535
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to change the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. The violoncello part notated in the tenor and bass clefs and a violoncello part is appended to the full score. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. Piano accompaniments are available playing at 84, 88, 92, 96 and 100 quarter note (crotchet) beats to the minute. Close
Added: 30th April, 2018 09:04 AM |
Views : 4616
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece its intention is to break the mood and for this reason is ideally placed as part of the repertoire in the PlentyMusic Café area of study. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. A trombone part is appended to the full score. Piano accompaniments are available playing at 84, 88, 92, 96 and 100 quarter note (crotchet) beats to the minute. Close
Added: 30th April, 2018 09:04 AM |
Views : 3932
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is that of the American march and it can be best described as an example of early “light music.” As a piece composed with the intention of changing the mood it is ideally placed as part of the repertoire in the PlentyMusic Café although it has to be confirmed whether a humorous approach to this piece is a possibility on the oboe. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. Piano accompaniments are available playing at 84, 88, 92, 96 and 100 quarter note (crotchet) beats to the minute. Close
Added: 30th April, 2018 09:04 AM |
Views : 4104
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the score in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious to the point of possibly being humorous. The formal model is that of the American march and the music can best described as being an example of early “light music.” As a piece composed with the intention of changing the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. Piano accompaniments are available playing at 84, 88, 92, 96 and 100 quarter note (crotchet) beats to the minute. Close
Added: 30th April, 2018 08:04 AM |
Views : 4250
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Show More...
Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece it intended to break a mood it is ideally placed as part of the repertoire in the PlentyMusic Café although there is also a version for piano duet / piano four hands on the website. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. Close
Added: 23rd April, 2018 08:04 AM |
Views : 3809
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Show More...
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same relevance with modern instruments. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be much longer whist the small notes do not sound in the recording. The editor suggests listening to many of the excellent performances of this work. A flute part is appended to the full score. Piano accompaniments are available at tempi of (1) 63 (2) 60 (3) 58 quarter note (crotchet) beats to the minute. If a click track is required during the cadenza section bar 32 – 33 please advise the PlentyMusic office. Close
Added: 15th December, 2017 17:12 PM |
Views : 4094
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet in Bb, trombon Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet in Bb, trombone and piano the sounding key is Ab whilst the realisation tempo is at 76 quarter note (crotchet) beats to the minute and the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Trumpet in Bb and trombone parts are appended to the full score. Piano accompaniments are available as mp3 downloads at tempi of 72, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 21st November, 2017 08:11 AM |
Views : 5677
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for clarinet in Bb, bassoo Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for clarinet in Bb, bassoon and piano the sounding key is Ab whilst the realisation tempo is 76 quarter note (crotchet) beats to the minute and the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Clarinet in Bb and bassoon parts are appended to the full score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 21st November, 2017 08:11 AM |
Views : 4976
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for soprano and alto saxop Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for soprano and alto saxophones with piano accompaniment and piano the sounding key is Ab whilst the realisation tempo is at 76 quarter note (crotchet) beats to the minute with the repeats not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 21st November, 2017 08:11 AM |
Views : 5727
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for two clarinets in Bb wi Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for two clarinets in Bb with piano accompaniment the realisation tempo is 76 quarter note (crotchet) beats to the minute with the repeats not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. The clarinet in Bb parts have been appended so as to allow players to perhaps share the repeats. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 21st November, 2017 08:11 AM |
Views : 4395
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for flute, clarinet in Bb Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for flute, clarinet in Bb and piano the sounding key is Ab The realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 68, 72, and 76 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 21st November, 2017 08:11 AM |
Views : 5627
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for 2 flutes and piano the Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for 2 flutes and piano the sounding key is G whilst the realisation tempo is 76 quarter note (crotchet) beats to the minute with the repeats not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. The two flute parts have been appended together so as to allow players to perhaps share the repeats. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 20th November, 2017 17:11 PM |
Views : 4847
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for tuba and piano the sou Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for tuba and piano the sounding key is Ab. The realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 72, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 20th November, 2017 17:11 PM |
Views : 4896
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for violin and piano the s Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for violin and piano the sounding key is G. The realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score.Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 20th November, 2017 16:11 PM |
Views : 4693
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for viola with piano accom Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for viola with piano accompaniment the realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Remember that ragtime music should not be played too fast.Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 20th November, 2017 16:11 PM |
Views : 4510
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for violoncello and piano Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for violoncello and piano the sounding key is G and the tenor clef is used for the notation of the violoncello part after the 4 bar introduction. The realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally follow the structure of the typical American March which can be represented by letters as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 20th November, 2017 16:11 PM |
Views : 4732
This is the original piano version of the “Easy Winners” and the tempo in the realisation is 76 quarter note (crotchet) beats to the minute whilst Show More...
This is the original piano version of the “Easy Winners” and the tempo in the realisation is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note (crotchet) beats to the minute sounds fast. The view of the music editor is to play the piece at the slowest tempo musically possible whilst at the same time exploring the musical shapes which the realisation does rather inadequately. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises during repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented by letters as: I AA BB AA CC DD. Pianists also need to explore the ensemble options that exist with this piece that can be found on this website. Close
Added: 20th November, 2017 16:11 PM |
Views : 5458
In this arrangement for intermediate piano in the key G the realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats ar Show More...
In this arrangement for intermediate piano in the key G the realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. The view of the music editor is to play the piece at the slowest tempo musically possible whilst at the same time exploring the musical shapes which the realisation does rather inadequately. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented by letters as I AA BB AA CC DD. Pianists also need to explore the ensemble options that exist with this piece that can be found on this website. Close
Added: 20th November, 2017 16:11 PM |
Views : 5207
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for two mandolins, acousti Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for two mandolins, acoustic guitars and acoustic or electric bass in G the realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. Individual instrument parts are appended to the full score. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented by letters as I AA BB AA CC DD. Close
Added: 20th November, 2017 11:11 AM |
Views : 6947
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for marimba, two guitars a Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for marimba, two guitars and acoustic or electric bass in G the realisation tempo is 76 quarter quarter note beats to the minute whilst the repeats are not played. Individual instrument parts are appended to the full score. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally follow the structure of the typical American March which can be represented by letters as
I AA BB AA CC DD. Close
Added: 20th November, 2017 11:11 AM |
Views : 7699
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for three acoustic guitars Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for three acoustic guitars in G and acoustic or electric bass the realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. Individual instrument parts are appended to the full score. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented by letters as I AA BB AA CC DD. This would be an ideal concert piece for three guitar players who could possibly also explore the option of sharing the repeats. Close
Added: 20th November, 2017 10:11 AM |
Views : 6094
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for three acoustic guitars Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for three acoustic guitars in G the realisation tempo is 76 quarter quarter note beats to the minute whilst the repeats are not played. Individual instrument parts are appended to the full score. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally follow the structure of the typical American March which can be represented by letters as I AA BB AA CC DD. This would be an ideal concert piece for three guitar players who could possibly also explore the option of sharing the repeats. Close
Added: 20th November, 2017 09:11 AM |
Views : 4486
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet and piano the Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet and piano the sounding key is Ab. The realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 15th November, 2017 19:11 PM |
Views : 4627
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for tenor saxophone and pi Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for tenor saxophone and piano the sounding key is Ab and both the full score and the appended solo tenor saxophone part are appropriately transposed. The realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 15th November, 2017 18:11 PM |
Views : 4067
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for soprano saxophone with Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for soprano saxophone with piano accompaniment the realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. Both the full score and the appended solo soprano saxophone version have the saxophone part appropriately transposed. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 15th November, 2017 17:11 PM |
Views : 4463
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for oboe and piano the sou Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for oboe and piano the sounding key is G. The realisation tempo is 76 quarter quarter note beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 14th November, 2017 19:11 PM |
Views : 4719
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for flute and piano the s Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for flute and piano the sounding key is G. The realisation tempo is 76 quarter quarter note (crotchet) beats to the minute and the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note (crotchet) beats to the minute sounds quite slow and yet 80 quarter note (crotchet) beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 14th November, 2017 13:11 PM |
Views : 4691
This is an arrangement for mandolin and acoustic guitars of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, Show More...
This is an arrangement for mandolin and acoustic guitars of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. The small ornamental notes, apart from the acciaccaturas (crushed notes), in the melody line of the arrangement are optional and do not sound in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4525
This is an arrangement for two acoustic guitars of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song w Show More...
This is an arrangement for two acoustic guitars of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. The small ornamental notes, apart from the acciaccaturas (crushed notes), in the melody line of the arrangement are optional and do not sound in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4105
This is an arrangement for a duo comprising flute and acoustic guitar of a parlour song by Stephen Foster dating from 1854 and whilst it has become a Show More...
This is an arrangement for a duo comprising flute and acoustic guitar of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. The small ornamental notes, apart from the acciaccaturas (crushed notes), in the melody line of the arrangement are optional and do not sound in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4521
This is an arrangement for a duo comprising flute and acoustic guitar of a parlour song by Stephen Foster dating from 1854 and whilst it has become a Show More...
This is an arrangement for a duo comprising flute and acoustic guitar of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. The small ornamental notes, apart from the acciaccaturas (crushed notes), in the melody line of the arrangement are optional and do not sound in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3297
This is an arrangement for woodwind trio comprising flute , clarinet in Bb and bassoon of a parlour song by Stephen Foster dating from 1854 and whils Show More...
This is an arrangement for woodwind trio comprising flute , clarinet in Bb and bassoon of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. The small ornamental notes, apart from the acciaccaturas (crushed notes), in the melody line of the arrangement are optional and do not sound in the realisation. Individual instrument parts are appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 5096
This is an arrangement for string trio comprising violin, viola and violoncello of a parlour song by Stephen Foster dating from 1854 and whilst it h Show More...
This is an arrangement for string trio comprising violin, viola and violoncello of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. The small ornamental notes, apart from the acciaccaturas (crushed notes), in the melody line of the arrangement are optional and do not sound in the realisation. Individual instrument parts are appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 4876
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. The small ornamental notes, apart from the acciaccaturas (crushed notes), in the melody line of the arrangement are optional and do not sound in the realisation. Individual instrument parts are appended to the full score and bass could be either an electric or acoustic instrument. Close
Added: 27th July, 2017 11:07 AM |
Views : 4458
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fost Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster’s own lifetime. A version by the violinist Heifetz became very popular in the 1940’s. The musical arrangement retains the harmonic outline of Stephen Foster’s song although some of the rhythmic detail of the melody has been edited. The context of the song is actually very sad in that it was written when Foster was estranged from his wife. The arrangement comprises an introduction of 4 bars, a verse of 16 bars , a link of 4 bars and repeat of the verse and with a closing section or coda. Keyboard players should be aiming for a fine legato singing tone in their playing keeping to the editorial suggestions and detail. It is very easy to underestimate the musicality of Foster’s songs and his contribution to early American music. A plain score is appended to the edited music score. copyright law was in place in the USA from 1831 although it is fairly evident that Stephen Foster did not make very much money from his songs. Close
Added: 27th July, 2017 11:07 AM |
Views : 4250
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo trumpet part appropriately transposed is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 4069
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo tuba part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3354
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo trombone part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3657
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo viola part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3451
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo violin part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3661
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo violoncello part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 4169
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. The tenor saxophone in both the full score and the appended solo part is shown transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3550
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3477
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. The full score is notated at pitch whilst the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3372
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. The full score is notated at pitch whilst the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3582
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fost Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. The full score is notated at pitch whilst the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3540
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3603
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3470
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and do not sound in the realisation. The sounding key is D which allows the repeat of the song melody section is played an octave higher. Close
Added: 27th July, 2017 11:07 AM |
Views : 3287
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for violoncello with piano accompaniment sounding in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. The solo violoncello part is appended to the full score. There are three accompaniments available playing at 96, 92 and 88 dotted quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4042
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for tuba with piano accompaniment sounding in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. The solo tuba part is appended to the full score.There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3814
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for trumpet in Bb with piano accompaniment sounding in the key of Eb a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. Observe that the full score has the trumpet in Bb part notated at pitch whilst the appended solo part is appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4223
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for tenor saxophone with piano accompaniment sounding in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. Observe that the full score has the tenor saxophone part notated at pitch whilst the appended solo part is appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4447
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for soprano saxophone with piano accompaniment sounding in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. Observe that the full score has the soprano saxophone part notated at pitch whilst the appended solo part has the soprano saxophone part appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3691
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for flute with piano accompaniment in the key of C a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. The solo flute part is also appended to the full score. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3587
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for clarinet in Bb with piano accompaniment sounding in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. Observe that the full score has the clarinet part notated at pitch whilst the appended solo part has the clarinet part appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3)88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3690
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for bassoon with piano accompaniment in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of the tempo. The solo bassoon part is appended to the full score. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3716
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for alto saxophone with piano accompaniment in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. Observe that the full score has the alto saxophone notated at pitch whilst the appended solo part has the same part appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4243
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for flute, acoustic guitar and bass (electric or upright) in the key of C a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as demonstrated in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. In this realisation note that an upright bass is used but this can be easily substituted. Close
Added: 27th July, 2017 11:07 AM |
Views : 6507
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement intermediate piano in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Pianists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as demonstrated in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. Close
Added: 27th July, 2017 11:07 AM |
Views : 4287
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for two acoustic guitars in the key of C a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as demonstrated in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. The music for both guitar players is shown in the full score. There are three Guitar 2 accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet)to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4303
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this ar Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this arrangement for a pitched percussion instrument (marimba, vibraphone, etc) in the key of C accompanied by an acoustic guitar a tempo of 96 dotted quarter notes is used in the realisation. Players can chose to play a shortened form ending on the first eighth note (quaver) of bar 88. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. The music for the two players parts are both shown in full score. There are three acoustic guitar 2 accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4933
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this ar Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this arrangement for pitched percussion instruments (such as marimba and vibraphone) in the key of C a tempo of 96 dotted quarter notes is used in the realisation. Players can chose to play a shortened form ending on the first eighth note (quaver) of bar 88. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. The two marimba players parts are shown in full score and these instruments are also used in the realisation. There is one pitched percussion 2 accompaniment available playing at a tempo of 96 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4821
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this ar Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this arrangement for flute and acoustic guitar in the key of C a tempo of 96 dotted quarter notes is used in the realisation. Players can chose to play a shortened form ending on the first eighth note (quaver) of bar 88. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. The flute and guitar parts are shown in full score. The music for the two players parts are both shown in full score. There are three acoustic guitar 2 accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4107
