Introduction to playing from score . ?i^= 3- 15. Natural tone are kept in mind, it will be easy to deal with the passagesfor horns in the scores of the classics, and to play, forinstance, Ex. 3 (Scherzo of the Eroica) not only in j5bmajor, but just as well in D major, A major, i^ major etc. If the original example is to serve its purpose ofinstruction perfectly, and to render the insertion of othersunnecessary, we must use it in many various ways. Similarlyin the following examples, whenever the transposing in-struments are introduced, we recommend the student toplay the parts assigned to thes
Introduction to playing from score . ?i^= 3- 15. Natural tone are kept in mind, it will be easy to deal with the passagesfor horns in the scores of the classics, and to play, forinstance, Ex. 3 (Scherzo of the Eroica) not only in j5bmajor, but just as well in D major, A major, i^ major etc. If the original example is to serve its purpose ofinstruction perfectly, and to render the insertion of othersunnecessary, we must use it in many various ways. Similarlyin the following examples, whenever the transposing in-struments are introduced, we recommend the student toplay the parts assigned to these transposing instrumentsalso in different keys, in order to ensure facility in thismethod of reading. For the purpose of practising the grouping of partsin the right position one over another, the following THE EXACT REPRODUCTION ON THE PIANO OF COMPOSITIONS, j c passage from the Allegretto of Beethovens A major Sym-phony, in which the two viohns repeatedly exchange theirpositions, may be used. V. I«. V. 2«. lO. ^: PP ;^^gi^i^^. ^^^m^^^^^^ m^^^ -^^^^ -p-F- ^E3S In order to bring out clearly this crossing of parts,it is recommended to play the contrapuntal part in semi-quavers softly throughout. In such cases the experienced player will often prefernot to play quite faithfully, but to change the accom-panying part to another octave, and to preserve only theprincipal theme in the original position. The beginner,however, should carefully avoid this procedure, and playexactly what he has before him. The following passage from Haydns well known Dmajor Symphony demands no change in the grouping, butonly a varying distribution of the parts to the two hands. J 5 THE EXACTREPRODUCTION ON THE PIANO OF COMPOSITIONS. Flauto lO Oboe / Fagotto ^•7::^5= ^fe_|Ep^E^E^-|gg^ ^=t^ i 7*^ n^- ^-&- te e-^ü»- ?•- 4^ i^^^^^n We insert here only this one example, and merelypoint out the impossibility of noting more in detail pe-culiarities that are of common occurrence in such worksas Bachs For
Size: 2829px × 884px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookauthorriemannh, bookcentury1900, bookdecade1900, bookyear1904
