SKU: DZ.DZ-4281
ISBN 9782898521980.
Music For a While is a collection of three short sketches. The music interweaves elements of East European folklore, North American minimalism, European polyphony and traditional Italian music.The first sketch is a very rhythmical, lively and powerful dance based on a fragment from Bela Bartok’s collection For Children.The second sketch is like a canon, a tribute to Pachelbel, but interestingly the development of the piece is influenced by contemporary minimalism. The music, based on a cell of 4 bars with a typical tonal progression that is constantly variated, is simple, beautiful and bright.The last sketch is an homage to Federico Fellini’s universe. With a typical Italian dance rhythm (including references to Nino Rota’s music), this piece evokes the crazy, funny and melancholic wMusic For a While est une collection de trois courts croquis. La musique entrelace des éléments du folklore d'Europe de l'Est, du minimalisme nord-américain, de la polyphonie européenne et de la musique traditionnelle italienne.Le premier «sketch» est une danse très rythmique, animée et puissante, basée sur un fragment de la collection For Children de Béla Bartók.Le deuxième «sketch» est comme un canon, un hommage à Pachelbel, mais de manière intéressante, le développement de la pièce est influencé par le minimalisme contemporain. La musique, basée sur une cellule de 4 mesures avec une progression tonale typique constamment variée, est simple, belle et lumineuse.Le dernier «sketch» est un hommage à l'univers de Federico Fellini. Avec un rythme de danse italienne typique (incluant des références à la musique de Nino Rota), cette pièce évoque le monde fou, drôle et mélancolique du cirque.
SKU: DZ.DZ-4285
ISBN 9782898522024.
Onk Akimel, is the name given in nahuati by the Pimas tribe in Arizona. This name means, the salt river (Salt River). The soundscape is represented by an ostinato that moves through each section. Good descent on Onk Akimel.Onk Akimel, est le nom donné en « nahuati » par la tribu des « Pimas » en Arizona. Ce nom signifie, « la rivière salée » (Salt River). Le paysage sonore est représenté par un ostinato qui se déplace dans chacune des sections. Bonne descente sur Onk Akimel.
SKU: DZ.DZ-4284
ISBN 9782898522017.
This 4th coquecigrue for 5 guitars is based on the famous Capricho Arabe by Francisco Tarrega. Very rhythmic, this rereading takes this resolutely Spanish music towards one of its distant descendants: Salsa.Cette 4e coquecigrue pour 5 guitares est basée sur le célébrissime Capricho Arabe de Francisco Tarrega. Très rythmique, cette relecture emmène cette musique résolument espagnole vers une de ses lointaines descendantes : la Salsa.
SKU: DZ.DZ-4287
ISBN 9782898522048.
Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
SKU: DZ.DZ-4275
ISBN 9782898521928.
When I was 8 years old I saw the series Mission Impossible. The music of the Argentinean Lalo Schifrin stayed in my heart from the first time.Later, when I was a teenager, I listened to Dave Brubeck's Take Five and Paul Desmond had the same effect on me. I discovered that both were written in an unusual rhythm for the music I usually listened to when I was a student at the conservatory.The 5/4 time signature in both of them has always fascinated me.Tallando en Jazz is a humble tribute to these three jazz greats. They have enlightened my way of feeling music.Quand j'avais 8 ans, j'ai vu la série Mission Impossible. La musique de l'Argentin Lalo Schifrin est restée dans mon cœur dès la première fois.Plus tard, quand j'étais adolescent, j'ai écouté Take Five de Dave Brubeck et Paul Desmond m'a fait le même effet. J'ai découvert que les deux étaient écrits dans un rythme inhabituel pour la musique que j'écoutais habituellement lorsque j'étais étudiant au conservatoire.La signature rythmique 5/4 dans les deux m’a toujours fasciné.Tallando en Jazz est un humble hommage à ces trois grands du jazz. Ils ont éclairé ma façon de ressentir la musique.
SKU: DZ.DZ-4088
ISBN 9782898522055.
August nights can be tinged with a bit of melancholy because the end of the summer approaches. The moon softly glows with nostalgia for a season passing us by. This mood seems to me folded into the Brazilian Bossa Nova, and the Brazilians’ term ‘saudade’; in this piece I offer up my tribute to one of my favourite composers, Radamés Gnattali (1906-1988), who wrote for every musical situation in his era in Brazil – from the concert stage to the back alley, and everything in between. Lua para Epilogo de Verão, is dedicated to the Brazilian guitarist Fabio Zanon, who is both a great friend and a tremendous inspiration.This étude tackles solid chords and contrary motion in the left hand, and, like all the études in this collection, voice separation and phrasing. In measure 24 the guitarist must execute a diagonal barré, where the first finger covers position IV at the first string, and position V at the fifth string, hence the V/IV indication after the barré symbol. The practicalities of navigating through the different chord shapes and rhythms in the piece mean that not all notes can be held for their full, written value. Such discrepancies between the text and the playing are common in this style of music.Les nuits du mois d’août peuvent contenir une douce mélancolie, à savoir que la fin de l’été approche. La lune luit alors avec une nostalgie pour la saison qui est déjà en train de passer. Cette saveur me semble parfaitement miroitée dans les couleurs de la bossa nova brésilienne et le terme brésilien « saudade » ; dans cette pièce je vous offre mon hommage au style d’un de mes compositeurs préféré, Radamés Gnattali (1906-1988), qui a su créer des musiques pour tous les différents musiciens de ses années au Brésil, de la salle de concert, jusqu’à la ruelle. Lua para Epilogo de Verão est dédié au guitariste brésilien Fabio Zanon, un bon ami, et une grande inspiration.Cette étude travaille les accords plaqués et divers mouvements contraires à la main gauche, et, comme toutes les études de cette collection, la séparation de voix et le phrasé. À la mesure 24, on doit exécuter un barré en diagonal, où le premier doigt un est à la position IV à la première corde, et à la position V à la cinquième corde, d’où l’indication V/IV suivant le symbole du barré. Pour des raisons pratiques à naviguer les accords et les rythmes de cette pièce, vous verrez qu’il n’est pas toujours possible de tenir toutes les notes pour leur durée complète. Ces différences entre l’écriture et l’exécution sont courantes dans ce style de musique.
SKU: DY.DO-1521
ISBN 9782897963019.
Dedicated to the luminary Steve Cowan, …empty mind, open heart… is a four-movement suite that centers around the intervals of a fifth and a tritone. Each movement is inspired by a quote from the Tao Te Ching by Lao Tzu. The opening movement is a meditation. The aleatoric rhythms and pacing of the notes are guided by the breathing of the performer, according to specific instructions in the score. Out of that atmosphere emerges a fluid, serene series of arpeggios in irregular rhythms in the second movement. Each new chord changes only one or two notes at a time in a gradual evolution over time. The third movement is a study in rhythm, sometimes dizzying. And the piece ends with a heartfelt, mostly quiet soliloquy.Dédiée à la sommité Steve Cowan, … esprit vide, cœur ouvert… est une suite en quatre mouvements centrée sur les intervalles d'une quinte et d'un triton. Chaque mouvement est inspiré d'une citation du Tao Te Ching de Lao Tseu. Le mouvement d’ouverture est une méditation. Les rythmes aléatoires et le rythme des notes sont guidés par la respiration de l'interprète, selon des instructions spécifiques de la partition. De cette atmosphère émerge une série d’arpèges fluides et sereins aux rythmes irréguliers dans le deuxième mouvement. Chaque nouvel accord ne change qu'une ou deux notes à la fois selon une évolution progressive dans le temps. Le troisième mouvement est une étude du rythme, parfois vertigineuse. Et la pièce se termine par un monologue sincère, plutôt calme.
SKU: DZ.DZ-4283
ISBN 9782898522000.
The writing of this piece arose from seeing Goya's painting Un pavo muerto an unadorned oil painting where a turkey and a wicker basket rest on an indistinct black background.Fantasizing about making a harpsichord fantasy (I wrote a double stave version of the piece), how to evoke and decline the sensations felt at the glance, musically? Through, I thought, the use of a particularly dark and passionate mode, culturally and emotionally akin to the tones and features of the great Spanish painter's painting. Unlike my usual type of writing, often susceptible to unexpected disturbances, I forced myself to use almost exclusively the notes of the modal scale in different combinations, and in the middle section of the piece to employ them by transforming them into brighter modes (to let some light filter through).A composition that also features some rather explicit moments of instrumental virtuosity, ideally thought of as possible offshoots of a hellish fandango.- Alfredo Franco, January 2024«L'écriture de cette pièce est née de la contemplation du tableau de Goya Un pavo muerto, une simple peinture à l'huile où une dinde et un panier en osier reposent sur un fond noir indistinct. En rêvant de composer une fantaisie pour clavecin (j'ai écrit une version à double portée de la pièce), comment évoquer et traduire musicalement les sensations ressenties au premier regard ? J'ai pensé que cela pourrait se faire en utilisant un mode particulièrement sombre et passionné, culturellement et émotionnellement proche des tons et des caractéristiques de la grande peinture espagnole du maître. Contrairement à mon style habituel, souvent sujet à des perturbations inattendues, je me suis imposé d'utiliser presque exclusivement les notes de la gamme modale dans différentes combinaisons, et dans la section centrale de la pièce, de les transformer en modes plus lumineux (pour laisser filtrer un peu de lumière).Une composition qui comporte également quelques moments assez explicites de virtuosité instrumentale, idéalement pensés comme des dérivations possibles d'un fandango infernal.»- Alfredo Franco, janvier 2024.
SKU: DY.DO-1529
ISBN 9782897963095.
Homage to the English guitarist-composer John Duarte, In an English Garden, is a short Neo-Baroque triptych based on a charming harmonic fragment from the second movement of the composer’s well-known work English Suite. The blueprint for the Prelude is in the French Overture style and Sarabande with the accompanying Double is modelled after Bach’s Partita no.1 in B minor. The quote Sitting in an English garden, waiting for the sun, is from one of my favorite songs by John Lennon, I Am The Walrus.Hommage au guitariste-compositeur anglais John Duarte, In an English Garden est un court triptyque néo-baroque basé sur un charmant fragment harmonique du deuxième mouvement de l’œuvre bien connue du compositeur English Suite. Le plan du Prélude est dans le style de l’Ouverture française et la Sarabande accompagnée du Double est calquée sur la Partita n°1 en si mineur de Bach. La citation « Assis dans un jardin anglais, attendant le soleil » est tirée d’une de mes chansons préférées de John Lennon, I Am The Walrus.
SKU: AP.36-A196148
ISBN 9798892702683. UPC: 659359867958. English.
Following the death of his mother in 1888, a depressed Camille Saint-Saëns (1835-1921) decided to take a trip to his favorite destination, North Africa, travelling to Ceylon, then to Alexandria and Cairo over the period of several months. While he was in Egypt, he composed his fantasia for piano and orchestra, AFRICA, Op. 89. Dedicated to pianist Marie-Aimée Roger-Miclos, it premiered on October 25, 1891, with the dedicatee playing the solo, and the work was an immediate success both at the premiere and after, which pleased Saint-Saëns a great deal to the point that he considered AFRICA a signature work. Borrowing themes and techniques from North African music, the fantasy draws on material he heard in Algeria and Egypt, offering an exotic sound to those listening in the late 19th and early 20th centuries. This concertante is notable also as one of the first works to be recorded with the composer as soloist, with a surviving 1904 recording with Saint-Saëns at the piano. This colorful piece continues to be performed regularly today. Reprint edition. Instrumentation: 2.2.2.2: 2.0+2.3.0: Timp.Perc(2): Str (9-8-7-6-5 in set): Solo Piano.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A742599
ISBN 9798892703260. UPC: 659359897863. English.
JOHANN STRAUSS II (1825-1899) initially wrote FRÜHLINGSSTIMMEN, Op. 410 (VOICES OF SPRING) as a concert aria. He dedicated the piece, with a libretto by Richard Genée, to pianist-composer Alfred Grünfeld. When Bertha Schwarz (stage name, Bianca Bianchi) sang the first performance at the Theater an der Wien on March 1, 1883, the audience loved it so much that they demanded an encore. The composer wasted no time in arranging a purely orchestral version, which the Strauss Orchestra premiered only seventeen days later. The waltz achieved great success during his Russian tour in 1886. This edition for reduced orchestra was arranged by Adolphe Dumont. Instrumentation: 1.1.2.1: 2.2.1.0: Perc(2): Pno Cond Sc in set: Str (9-8-7-6-5 in set). Reprint edition.
SKU: AP.36-A742502
UPC: 659359906169. English.
SKU: AP.36-60710003
ISBN 9798888521854. UPC: 676737961466. English.
Hungarian composer Ede (Eduard) Poldini (1869-1957) was largely known in his home country for his many operas. In the 1890s, Poldini composed a collection of seven pieces for piano under the title MARIONETTES, IEP 17, the most popular of which is the 2nd movement, La Poupée Valsante (The Dancing Doll), with its fleet, graceful introductory melody. This transcription for violin by Fritz Kreisler is what made Poldini internationally famous.
SKU: HL.1418421
UPC: 196288197928. 6.75x10.5 inches.
Wonka has delighted audiences around the globe, as whimsical attention to detail and a infectious spirit was a priority for the acclaimed director of the Paddington movies. This featured new song by Irish singer-songwriter Neil Hannon is a sweet duet between stars Calah Lane and Timothée Chalamet.
SKU: HL.1479055
19.5x10.25x8.5 inches.
Pulze is a modern Bluetooth digital modeling amplifier with a minimalist exterior design, suitable for a variety of electric and acoustic instruments. Meticulously designed enclosure and speakers ensure high-quality audio playback performance and professional instrument tones within a portable form factor, faithfully reproducing classic sounds found on records. With a fully touchscreen operation combined with Bluetooth 5.0 module and a companion mobile app, Pulze offers a user-friendly, intelligent operating experience. It integrates recording, live streaming, and more features to inspire and capture your musical creativity at any time. For a long time, Hotone's comprehensive effects, have been acclaimed by many musicians for their excellent sound quality and authentic feel. Hotone's signature CDCM HD and F.I.R.E. digital modeling technology has continually evolved. Now, our experienced team has injected our digital modeling technology into the all-new Pulze Amplifier. With a high-quality dual-core digital processing platform, powerful algorithms can be fully utilized. Pulze strikes a perfect balance between tone and size. With a carefully designed ABS enclosure and a pair of custom 3.5-inch full-range speakers, everything is tailored to provide dynamic, rich, detailed, and exceptional tones during your performances. Typically, tube amplifiers require ample space to unleash their immense volume. However, Pulze delivers outstanding sound performance at any volume level, making it the ideal choice for both practice and home performances. Additionally, the stereo Class D amplifier, combined with 30 watts of output power, allows Pulze to shine in small-scale live venues. “It's a professional instrument amplifier and a portable audio system for enjoying music” -- That's the initial concept behind Pulze's design. Engineered with precision, Pulze not only faithfully reproduces the characteristics of musical instruments but also serves as a stunning stereo speaker. With multiple connectivity options like USB, Bluetooth, and Aux In, Pulze allows you to play high-quality music from your computer and smartphone anytime, anywhere. Its transparent highs and well-defined lows provide a live music experience wherever you are. Building upon true stereo signal processing and audio playback, Pulze incorporates the innovative Space+ stereo enhancement technology. It creates a broader soundstage, more realistic presence, and richer sound depth, whether you're playing or listening to music. Pulze surrounds you with an immersive listening experience. A wealth of tones 46 amps simulations 48 cabs simulations 60+ classic effects simulations 20 user IR slots with 5 built-in Celestion-authorized classic speaker IRs.
SKU: EC.9275
UPC: 600313099618.
A collection of 10 Etudes depicting New York scenes. The pieces may be performed individually or as a set.
SKU: EC.9261
UPC: 600313492617.
SKU: EC.9262
UPC: 600313492624.
SKU: MN.25-177
UPC: 688670251771.
SKU: EC.9264
UPC: 600313492648.
SKU: EC.9263
UPC: 600313492631.
SKU: AP.36-A196101
ISBN 9798892702676. UPC: 659359636882. English.
SKU: AP.36-A196102
UPC: 659359795107. English.
SKU: BT.ARMEOIO325
Italian.
SKU: BT.ESZ-01387800
SKU: BT.ARMEOIO324
SKU: BT.ESZ-01388200
SKU: BT.ARMEOIO327
SKU: PR.110418480
ISBN 9781491136294. UPC: 680160688784.
Chen Yi’s beautiful and highly-textured tone poem was inspired by ancient Chinese poetry; its melodic ideas were developed from musical phrases characteristic of Chinese opera. Wang Ya’s original verse as translated by Chen Yi reads:“SONG OF SPRING OUTING”Ten thousand apricot trees by the riverside,Spring flowers bloom after the wind at night.Covered over the garden, colors dark and light,Mirrored in the green water ripples.SONG OF SPRING OUTING was commissioned by the Center for East Asian Studies and the Asian Classical Music Initiative at the University of Kansas in 2022 for Dr. Yi-Yang Chen to premiere in 2023.The work was inspired by an ancient Chinese poem with the same title:Song of Spring Outingby Wang Ya (Tang Dynasty)English translation by Chen YiTen thousand apricot trees by the riverside,Spring flowers bloom after the wind at night.Covered over the garden, colors dark and light,Mirrored in the green water ripples.This inspiring image is like taking a walk through a beautiful garden with layers of colorful trees and flowers, mirrored in the green water.The opening phrase of the music introduces the signature intervals, the leap of a seventh found in Beijing Opera fiddle’s language, followed by melodic material with a major 2nd and perfect 4th in pentatonic style as the thematic materials. [C-Bb-G in bars 1-2, followed by the top pitches A-B and Ab-E( in bars 2-3]. This statement is brought back (Rehearsal F) in a retrograded form of the introduction at the climatic end of the piece.The musical form is a combination of variations on thematic materials, and a rondo. After the introductory section, Rehearsal A introduces an improvisation-like mountain song melody (developed from the pentatonic material in the introduction).Rehearsal B brings in a lively texture in short groupings with staccato in both hands (using the seventh leap interval introduced in the opening of the piece).Rehearsals C and D develop the introduction’s pentatonic melody and the mountain tune (introduced in Rehearsal A) with more layers in the texture.Rehearsal E develops the material presented in Rehearsal B, with an extended range in both ends of the keyboard, increasing the freshness and excitement.
SKU: BT.EMF100903B
French.
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