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Horn Sonata No.2

Классика/Соната • 2018
 
 
   
 

1st. Movement - Andante a piacere

Название пользователя: Horn Sonata No.2 - 1st. Movement - Andante a piacere

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8.00 USD

Продавец Mike Lyons
PDF, 253.2 Кб ID: SM-000333875 Дата публикации: 11 май 2018
Инструменты
Валторна
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Соло
Тип нот
Для одного исполнителя
Тональность
Ре мажор
Части
1 до 1 из 3
Издатель
Mike Lyons
Уровень сложности
Сложно
Время звучания
4'56
This is the first movement of my second Horn Sonata.

The music of the first section is based on the opening idea. The descending glissandos and the repeated note figures should be taken in a leisurely way, a piacere, rather than in totally strict time. In bar 10, the flz should appear out of the tied note, without a fresh tongue.

From letter A, the music is based on the repeated note patterns which are gradually developed and metamorphosed into new shapes in a gradual process. At letter B, a second motif is added which is more expressive and dynamically diverse. The development of this idea reaches a climax at the rall befor letter C, frome where this idea becomes more frenetic and agitated until it 'tires itself out' in the pauses before letter D.

Here the original repeated note motif reappears to provide a basic ternary shape as the original ideas, changed by the development process are re-stated in their new forms. The closing pauses should be played as marked, with comma breaks, but not between the two notes in the penultimate bar.
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2nd. Movement - Adagio

Название пользователя: Horn Sonata No.2 - 2nd. Movement - Adagio

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7.00 USD

Продавец Mike Lyons
PDF, 199.3 Кб ID: SM-000333876 Дата публикации: 11 май 2018
Инструменты
Валторна
Состав исполнителей
Соло
Тип нот
Для одного исполнителя
Тональность
Ми минор
Части
2 до 2 из 3
Издатель
Mike Lyons
Уровень сложности
Средний уровень
Время звучания
2'30
This is the 2nd movement of my second horn sonata. This movement is slow and wistful, atmospheric and drifting. Each phrase should be given its own space. Each individual motif has its own rises and falls and these should be tastefully exaggerated to give them as much definition as possible.
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3rd. Movement - Allegro vivace

Название пользователя: Horn Sonata No.2 - 3rd. Movement - Allegro vivace

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Продавец Mike Lyons
PDF, 241.1 Кб ID: SM-000334041 Дата публикации: 15 май 2018
Инструменты
Валторна
Состав исполнителей
Соло
Тип нот
Для одного исполнителя
Тональность
Фа мажор
Части
3 до 3 из 3
Издатель
Mike Lyons
Уровень сложности
Сложно
Время звучания
2'19
This is the 3rd and final movement of my Horn Sonata No.2. It's ntended to be flashy and full of life. The 7/8 time signature gives it plenty of off-beat vivacity. Players will need to make sure they know what the pulse is as it shifts from 2+2+3 to 2+3+2 and 3+2+2.

Much of the material (motifs) are related to the music of the first two movements so this rousing finale will brig a sense of completeness to the performance of the sonata, though it can, of course, be played as a separate piece in its own right.

This movement is both enjoyable and challenging, requiring a good technique and countin skills. The subtle shifts to 6/8 and 5/8 - and even 3/4 time need to be treated with care.
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Complete

Название пользователя: Horn Sonata No.2 (Complete)

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18.00 USD

Продавец Mike Lyons
PDF, 347.2 Кб ID: SM-000334043 Дата публикации: 15 май 2018
Инструменты
Валторна
Состав исполнителей
Соло
Тип нот
Для одного исполнителя
Тональность
Ре мажор
Части
1 до 3 из 3
Издатель
Mike Lyons
Уровень сложности
Сложно
Время звучания
9'56
This is my second Horn Sonata for unaccompanied horn . Like the first, it has 3 movements, each oif which can be played on their own.

1st. Movement: Andante piacere

The music of the first section is based on the opening idea. The descending glissandos and the repeated note figures should be taken in a leisurely way, a piacere, rather than in totally strict time. In bar 10, the flz should appear out of the tied note, without a fresh tongue.

From letter A, the music is based on the repeated note patterns which are gradually developed and metamorphosed into new shapes in a gradual process. At letter B, a second motif is added which is more expressive and dynamically diverse. The development of this idea reaches a climax at the rall befor letter C, frome where this idea becomes more frenetic and agitated until it 'tires itself out' in the pauses before letter D.

Here the original repeated note motif reappears to provide a basic ternary shape as the original ideas, changed by the development process are re-stated in their new forms. The closing pauses should be played as marked, with comma breaks, but not between the two notes in the penultimate bar.


2nd Movement: Adagio

This movement is slow and wistful, atmospheric and drifting. Each phrase should be given its own space. Each individual motif has its own rises and falls and these should be tastefully exaggerated to give them as much definition as possible.
3rd. Movement: Allegro vivace

This movement is intended to be flashy and full of life. The 7/8 time signature gives it plenty of off-beat vivacity. Players will need to make sure they know what the pulse is as it shifts from 2+2+3 to 2+3+2 and 3+2+2.

Much of the material (motifs) are related to the music of the first two movements so this rousing finale will brig a sense of completeness to the performance of the sonata, though it can, of course, be played as a separate piece in its own right.

This movement is both enjoyable and challenging, requiring a good technique and countin skills. The subtle shifts to 6/8 and 5/8 - and even 3/4 time need to be treated with care.
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