{ B 34 p F F G. p Š Š #Š Š ŠŠŠ Š #. Š Š Š Š Š Š Š. V Š Š Š Š Š Š Š Š Š # Š . Š #Š Š Š #. V ˆ ˆ ˆ V # ˆ ˆ ˆ

Transcription

1 10 Minor keys Every major key has a relative minor key that oens u a dierent sound-world; this is oten more melancholy, mysterious, or even menacing in character. To ind the relative minor o any major key, count down a semitone and then a tone rom the key note. Conversely, the relative major is a tone and a semitone higher than its relative minor. major key minor key V ˆ ˆ ˆ semitone tone major key minor key V # ˆ ˆ ˆ semitone tone major key minor key Vb ˆ ˆ ˆ semitone tone Originally rom a medieval mystery lay, the Coventry Carol is a lullaby in which Mary sings esus to slee and laments erod s resolve to kill all babes-in-arms. It is in the key o A minor, the relative minor o C major; thus, no key signature is used, but the accidentals (articularly shars) give the minor key its characteristic lavour. Accidentals are not normally written again when a note is tied, so the C shar (and the A) are simly held on through the inal three bars. mesto sorrowul F F V Andante 34 mesto Š Š #Š Š ŠŠŠ Š #. B 34 Š Š Š Š Š. 7 V Š Š Š Š Š Š Š Š B Š Š Š #Š Š Š Š # Š F F V# F. Š #Š Š Š #. F.. B Š 13 track 9 Solo track 10 Duet Coventry Carol ŠF Š Š Š Š Š Š Š. E Trad. English

2 19 Largo F I F V b C # = # = Š Š Š Š ŠŠ ŠŠ Bb C # = = ( b) m F. I Š Š Š Š q ˆ misterioso I ƒ V b Š Š ŠŠ ŠŠ Š Š Š ŠŠ Š Š Š Bb ˆˆ ˆ # Š Š Š Š Š Š Š I 6 V b Š Š Š Š ŠŠ Š Š Š Š Š Š Š ŠŠ ŠŠ Bb 10 Š Š Š Š Š Š Š Š Š Š Š Š Š ˆ V b Š Š Š Š ŠŠ Š Š Š Š Š Š Bb ˆˆ ˆ F I F track 28 Solo Theme rom the New World Symhony Symhony No. 9, second movement Antonín Dvořák V b Š Š Š BbFcresc. ˆ Š Š Š Š Š V Še B m decresc. Š Š Š Š Š r Š r. r ( ) ƒ Š Š Š q V Š r B Š r. r ƒ

3 27 F F Rolling along, swing quavers V b 4 Š Š Š Š Š Š Š Š Š Š Š Š r Š Š Š Š Š Š Š t Š e Bb 4 Š Š bš Š Š Š bš Š Š Š bš Š Š Š bš Š 5 9 F I I F I F F V b Š ŠbŠ Š Š Š Š Š Š ŠbŠ Š r Š#Š Š Š=Š Š Š Š=ŠŠ m Bb Š Š bš Š Š Š bš Š Š Š bš Š Š Š bš Š V bšššššštš Š Š Š Š Š Š r t Š Š#ŠŠ Š Š Š Š t r t Š eš Š Bb ˆŠ Š Š Š Š Š Š Š Š r q V t ŠeŠ=ŠŠ t r B 13 Ĝ I V b Šet t Š e Š Š t Še r Š#Š Š Š=Š Š Š Š t Š e m Bb Š Š bš Š Š Š bš Š Š Š bš Š 17 Š Š bš Š V b Š ttš Š Š t Š r Š#Š Š Š=Š Š Š Š=ŠŠ Bb Š Š bš Š Š Š bš m Š Š Š bš Š Š Š bš Š I V F bššššššt Š Š Š Š Š Š Š r t Š#Š Š F FI Š Š Š=Š Š tt F oco rall. bš e Bb ˆŠ Š Š Š ˆŠ Š Š Š Š r t Š eš=š Šet b bš Š E 21 track 43 Solo track 44 Duet Blue Cheese I FI F A. B.

4 35 track 51 Solo Cloudscae V 64 Š Š Š Š Š Š Š Š Š Š Š Moderato esressivo Š Š. Š. m V 64 r cantabile r r r r r # r r # una corda A. B. V Š Š Š Š Š ( = ) Š Š Š Š Š. 5 Š Š Š Š. V r = r r # r r r # r = r B tre corde FI FI una corda V #. Š Š Š.. #. Š Š Š... B Š Š Š q. Š Š Š q. Š Š Š q. Š Š Š q. 9 F tre corde I 13 rall. al ine F 8 va V Š Š Š Š Š Š ŠŠŠ r ŠŠŠ r Š Š #ˆ... Š m B r r r r # r #.... r r Š Š q. q. I una corda 15 ma.. 8 vb

5 53 Nann s Maske is an anonymous dance rom a seventeenth-century collection o harsichord ieces called Elizabeth Rogers Virginal Book (a virginal is a small harsichord). As harsichords could not achieve dynamic contrast, ornaments were requently used to give colour to the musical line. In the original there is an ornament on every beat, which would have been easier to lay on the virginal, with its light touch, than on the resent day iano. We have indicated just a ew embellishments, but we suggest you learn the iece without them irst so the rhythm is clear in your mind. We have also added suggestions or dynamics and hrasing. Larghetto quite slow, but not as slow as Largo I ~ Larghetto I ~ V 24 #ŠŠ Š Š ŠŠ ŠŠ ŠŠ B 24 Š Š Š Š rš m Š Š Š rš Š Š Š 8 V Š Š # Š Š Š #Š Š Š Š Š Š Š Še B Š Š Š Š Š Š Š Š Š m Š Š #Š 15 V Š Š Š Š Š Š Še Š Š Š Š Š Š B Š Š r #Š Š Š Š Š Š Š r #Š Š Š V. Š/Š Š Š Š Š Š Š/Š ~ Š Š Š I Š ŠbŠ Š Š Š ŠŠ. B. Š Š Š Š Š Š Š Š r #Š Š Š. 22 track 67 Solo ~ F I M I F! F I M I Nann s Maske ~ Anon. (17th century) F!

6 62 Two nineteenth-century ieces ere are two arrangements o oular ieces rom the Romantic eriod to add to your reertoire: Schubert s melodious Entr acte No. 3 rom the ballet Rosamunde (reeats otional) and Smetana s Vltava a ortrait o the River Danube near its source high in the hills. Note that the changes in temo and the ause in Vltava are omitted in track 77 (duet track).. F Andantino V bb 24 Š ŠŠ.. Š Š Š Š ŠŠ.. Š Š ŠeŠ =Š Š Š Š.. Vbb 24 Š Š Š Š Š Š Š Š Š Š Š Š t Š eš Š Š Š Š Š = Š Š Š Š Š Š Š Š.I V bb Š ŠŠ.. Š Š Š Š Š ŠŠ Š Š Š Š Š ŠŠŠ. Vbb Š Š Š Š Š Š Š Š Š Š Š Š t Š eš Š Š Š Š Š Š =Š Š Š ŠbŠ F 9 17 I I F V bb. Š ŠŠ Š Š Š ŠŠ Š Š Š Š Š Š Š # m t Vbb. t Š eš Š t Š eš Š t ŠeŠ Š Š eš Š #Š Š Š Š #Š Š ( b) Š #Š B V I I I F.I I F E V bbbš ŠŠ.. ŠŠ.. Š Š Š ŠŠ Š Š.. Š Š Š Š. Vbb Š Š Š Š Š Š Š Š ŠbŠ Š Š Š Š Š Š Š Š Š Bt tšeš Š Š. b 25 track 75 Solo Entr acte No. 3 una corda rom Rosamunde tre corde Franz Schubert ( ) Š I Š F