España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for saxophone quintet comprising soprano, alto, 2 tenor & bar Show More...
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for saxophone quintet comprising soprano, alto, 2 tenor & baritone saxophones. One of the most familiar pieces of the Spanish repertoire this arrangement from PlentyMusic is now available to download. The PlentyMusic sheet music video and realisation plays back at a tempo of 108 quarter note beats per minute. The tempo in the arrangement is constant. Individual instrument parts are appended to the full sheet music score. Accompaniments are in place featuring the saxophone quintet minus the soprano saxophone & are available as mp3 downloads playing back at 100, 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute. There are many arrangements of this music available from the PlentyMusic sheet music library combining many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using professionally engraved resources. The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the elements of the Spanish idiom and style. The second section has an appealing syncopated melody with some lightening of the musical texture. The solo line played needs to be played with confidence and accuracy. It is also an excellent test as an ensemble piece requiring good communication between the players. The solo part is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach. The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Martellato means strongly accented. Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound. This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed! A great movement for both the player and the listener for its dramatic and musical qualities. The composition dates from 1923 and was recorded as early as 1926. Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone). The cadences in Spanish music have a characteristic sound. The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism. The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. The conception of the dance is a re-imagining of the movements of the Spanish matador in the bull ring. Close
Joaquin Malats Serenata Española from his Impressions of Spain arr. saxophone sextet comprising soprano saxophone, 2 alto saxophones, 2 tenor saxoph Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. saxophone sextet comprising soprano saxophone, 2 alto saxophones, 2 tenor saxophones & baritone saxophone. Individual instrument parts are appended to the full sheet music score in the pdf download. A sunny piece that features many characteristics typical of Spanish music. Individual instrument parts are appended to the full score available as a pdf download. Accompaniments are in place enabling the soprano to practice and play as part of an ensemble. They play at 104, 108,112,116 & 120 bpm. There is a 2 bar click track to prepare players for this ensemble experience. The workability of this arrangement does need to be evaluated and PlentyMusic would value feedback from musicians trying out this arrangement. It is possible that there are better octave options in the parts that could be explored. a piano can always be used to substitute for missing instruments. animando used in the score implies an increase in tempo and has been placed above the stave as a score marking The music in this sounds in the key of G minor. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music of Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key of G in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests many images of the country. There is also much figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing most errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement and instrument ranges are often challenging. Close
Joaquin Malats Serenata Española from his Impressions of Spain arr. tenor saxophone & piano. A sunny piece that features many characteristics typical Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. tenor saxophone & piano. A sunny piece that features many characteristics typical of the Spanish style. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as a trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music by Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests images of the country. There is much characteristic figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. There is opportunity to explore articulations in a performance with staccato notes used particularly in the accompaniment. Short notes imitating the sound of the guitar are quite appropriate in this piece. Chords can be rolled again to imitate the sound of playing chords on the guitar. The music editor has not indicated staccato notes in the music score mainly because it is challenging to be consistent in such matters especially with music that does benefit from spontaneity. Listen to performances and use your ears is the advice. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 112 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement. Where appropriate there are some octave transpositions in the bassoon part are in place to keep to the instruments best tonal range. The element of contrast is also to the fore with legato & staccato, loud and quiet playing, speeding up and slowing down. Piano accompaniments are in place & can be downloaded as mp3 files from the PlentyMusic website. They playback at 104, 108, 112, 116 & 120 quarter note beats to the minutes. A tenor saxophone part is appended to the full score available as part of the pdf download. Close
Tchaikovsky’s Chant sans Paroles (Song without Words) Opus 2 No.3 arranged for tenor saxophone & piano. The realisation plays back at 80 quarter no Show More...
Tchaikovsky’s Chant sans Paroles (Song without Words) Opus 2 No.3 arranged for tenor saxophone & piano. The realisation plays back at 80 quarter note (crotchet) beats to the minute. Piano accompaniments are in place playing at 72, 76, 80, 84 & 88 beats per minute. There is a two bar count in played on the wood blocks. A saxophone part is appended to the full score on the pdf download. Pianists will need to make use of the sustaining pedal although its use has not been indicated in the sheet music score. The sense of melody is always strong in this composer’s writing. Musicians need to explore the full tonal and dynamic range when playing this music The small decorative notes are possibly best omitted in the early stages of learning the piece. Late 19th century chromatic harmony is evident in the writing and the 8 bar phrase structure is consistent in this movement. The musical templates that tended to dominate Tchaikovsky’s composing life were the popular dance forms of his day – waltz, polka, mazurka, scherzo. This is music intended for performance in the salon or drawing room. This high intermediate arrangement keeps very much to the composers original score with just a few additional notes in the accompaniment to help the voicing of the chords. Tchaikovsky is the master of mood in music from the composing view supreme in able to express both the saddest and happiest of moments in music. Close
Debussy’s Arabesque No. 1 arranged for saxophone quartet, comprising soprano, alto, tenor and baritone saxophones sounding in the key of F. This is Show More...
Debussy’s Arabesque No. 1 arranged for saxophone quartet, comprising soprano, alto, tenor and baritone saxophones sounding in the key of F. This is music composed whilst Debussy was still in his 20’s. The first Arabesque has a tempo marking Andantino con moto whist the realisation for saxophone quartet plays back at an initial 112 quarter note (crotchet) beats to the minute. The music has been transposed from the original key of E to F. There are some of octave transpositions in the arrangement keeping the instrument parts within the range of the instrument. It is a three section work. Saxophone parts appropriately transposed are appended to the full music score. Much of the writing in this movement references triadic chords played as arpeggios. The intervals of the thirds and tenth (compound third) feature strongly in the parallel motion It is a three section work with the reflective middle section referencing the key of the sub-dominant. The triplet pattern is a strong feature of the movement. Instrumentalists new to playing cross rhythms need to practice playing triplet rhythms for a bar and then change it to eighth notes (quavers) so that they develop a clear sense of pulse in their playing. This a movement where the tempo often ebbs and flows in what is referred to as Tempo Rubato. This is an important aspect of performance practice and something that is first associated with the music of Chopin. Instrumentalists need to have a clear understanding of all the terms used in the score detail. 20th century music scores do generally have more graphics and terms in place to assist how the music is to be played and interpreted. A quite stunning and impressionable piece in all senses of the word with a strong sense of melody that lends itself to being arranged for an ensemble such as a clarinet quartet. Debussy composed his two Arabesques between 1888 and 1891 whilst still in his 20’s. They were originally composed for piano. They are movements that challenge the established pathways of his late romantic contemporaries. They are often described as early impressionist pieces although Debussy himself didn’t like references of his music using the term. Debussy has famously been described as the composer who opened the door to 20th century musical composition in the sense that his compositional approach was different to that of many of his contemporaries whose music was generally becoming increasingly dissonant. Debussy’s writing is more about exploring the beauty of sound without necessarily following the rules of harmonic writing that prevailed in the 19th century. Debussy created a new approach to composition in which beauty of sound and line were paramount exploring connections between the visual arts, nature and the environment around him His music is frequently described as being evocative in that he describes in music what he sees, hears and observes from his experiences of life. He is a composer of visual music. Debussy also lived at a time when the world as such was coming to Europe with exhibitions and as a composer he was open and influenced by the many cultures as his music suggests. Saxophone accompaniments are in place to encourage ensemble practice playing at 100-88 -100 quarter note (crotchets) beats per minute and also 104-092-104, 104-100-104, 108-100-108, 112-096-112 and 112-104-112 bpm with the tempo referring to the music as a three section work. If there are saxophonists who would like additional accompaniments in place please advise the PlentyMusic office with tempo suggestions. Whilst there are tempo changes in these accompaniments rubato playing is not as such represented. Arabesque is a term that refers to artistic decoration and line which are terms relevant to music. The art in respect to Arab culture is also extremely relevant as the term suggests having both historical and modern contexts. Spend time looking at Arabesque graphics. There are related aspects to line and position in ballet music so as a description of a piece of music the term Arabesque has several references and meaning. Close
J.S. Zamecnik’s Polly in an arrangement for tenor saxophone & piano. This novelty piece was published in 1926. It is a lively movement that needs to Show More...
J.S. Zamecnik’s Polly in an arrangement for tenor saxophone & piano. This novelty piece was published in 1926. It is a lively movement that needs to be played in a swing style. The realisation plays back at 62 half note or minim bpm. In this arrangement the music sounds in the key of Bb. The pdf sheetmusic download has a tenor saxophone part appropriately transposed appended to the full score. There is a strong chromatic element in this movement which has a formal structure related to the American march form There is a strong repetitive element in the use of shapes and motifs which is often a feature in the popular music idiom. Modern instruments are tonally much stronger than the instruments of the 1920’s and some of the indicated articulation markings may need to be reviewed by players. Popular music idioms in the modern sense were established in the first decade of the 20th century first with ragtime and then with related styles like novelty piano, stride piano and subsequently with blues and jazz styles. Musicians as such were provided with a career choice of either pursuing the popular or more serious classical idioms. Interestingly many successful popular music composers and performers in the early 20th century were classically trained musicians. The realisation plays back at 62 half note or minim beats to the minute. Accompaniments are in place playing back at 58, 60, 62, 64, 66, 68, 70 and 72 half note or minim beats to the minute. The conventions used in the notation of swing music are confusing and not altogether consistent. The triplet pattern or shape is the key rhythmic element. Communicating the swing style element is important when playing this music and it would be wise to spend time listening to performances from available recordings. John Stepan Zamecnik had a successful career as a composer of music for film or more accurately silent films commonly referred to as photoplay music. As a composer he frequently used pseudonms. It would be interesting to ask him why? Whilst American by birth he studied music in Prague with Dvorak in the mid 1890's. Much of his working life was spent in the city of Cleveland. Close
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate techniqu Show More...
Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate his virtuoso playing. The playback tempo in the playback score is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in Eb and the B section in Gb. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The use of the piano sustaining pedal is recommended but is not indicated in the score. Gottschalk composition approach is influenced particularly by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the articulations, dynamics and tonal range in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. The small ornamental notes sound in the realization although the music editor suggests leaving them out c during the learning of the piece. It is then up to the player’s own discretion whether to play or them or not.A tenor saxophone part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. The music editor worked from an old print copy of the work and there were several ambiguities in the score so any feedback on detail would be much appreciated. Close
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spi Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for tenor saxophone accompanied by the piano the sounding key in Eb. Tenor saxophone players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not a feature of the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A tenor saxophone part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
An arrangement for tenor saxophone and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at Show More...
An arrangement for tenor saxophone and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they can develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the tenor saxophone melody line. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A tenor saxophone part appropriately transposed is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/112/68 (2) 66/112/66 (3) 64/108/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for tenor saxophone with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A tenor saxophone part appropriately transposed is appended to the full score. Close
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the oppor Show More...
This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore the tonal range of the tenor saxophone. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A tenor saxophone part is appended to the full score. Close
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A tenor saxophone part appropriately transposed is appendedto the full score. Close
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. Both the full score and appended solo tenor saxophone parts are notated at transposed pitch. Close
