Pianist's Guide to Standard Teaching and Performance
Short Description
Pianist's Guide to Standard Teaching and Performance...
Description
OrSor 483
Grade Composer 1 Ag Agay
Composition Mysterious Procession
Main Technical Difficulty or Benefit %e.t Hand Melody 6ight Ceading Hand Independence 7pressive Playing
Other Notes & Comments his is .or the total eginner& and and can e taught on the very .irst lesson, CH play a steady even ostinato using only the note 7& while the le.t hand plays the melody which consists only o. A#$ in di..erent orders and simple rhythms, 7cellent .or sightEreading& .or hand independence& .or epressive playing and .or ringing up a melody on the le.t hand, It can also e used as a seed .or .ree improvisation,
489
1 Alt
Hot Noon in the Meadow
Introduction to how chords develop emotion
6imilar in di..iculty to the aove& this set o. pieces uses modern harmonies to tell stories& so it is a very good introduction to how and why chords and intervals can elicit di..erent emotions F.or instance& Ghe spider uses tritons to uild up suspense& and G#ees and -lies uses chromatic intervals to emulate u>>ing,
488
1 Alt
he !cean
Pattern Introduction
A collection o. 1 pieces .or the complete complete eginner& eginner& most you can teach at the .irst lesson, lesson, he interesting thing here is that t hey use the whole 0eyoard and introduce patterns that .reJuently appear in the more advanced pieces& so they are ecellent preparatory pieces, Again very good recital material .or eginners,
84" 84* 84) 8)1 848 8) 849 84
1 1 1 1 1 1 1 1
841 8) 8)3 8)4 8)8 8)" 8)) 8* 8)9 8)* 8*1 8* 8*3 494 8*4 8** 8*) 8*" 8"1 8*9 8" 8*8 8") 8" 8"3 8"4 8"" 8"* 8"8 8"9
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
#ach #ach& +,$, #ach& +,$, #art20 #art20 #art20 #art20
$horale %ord& do with me as you will& #'( )14 Air in -& #' ( Anh, 131& Aria in A minor $hildren at Play uasi Adagio no 3 .rom /-or $hildren/ vol 1 wo %ittle 5ialogues wo 6hort Pieces and wo %ittle 5ances
#eethoven
7cossaise in 7 maor 'o! 8*
#eethoven #urgm;ller $lementi $lementi :urlitt :urlitt :urlitt :urlitt :urlitt :urlitt Handel Handel Hen0el
7cossaise in : maor 'o! 3 6tudy in Am& !p, 1art %e $ouppey %e $ouppey %e $ouppey Mo>art Mo>art Mo>art Mo>art Purcell Purcell Cameau 6carlatti
60etchoo0 o. Mr, Purple Poverty op, 39 6leeping $at& .rom /60etchoo0 o. Mr Purple/ :ame heme and (ariation 1 6cher>ino Menuet in $ Melody in $& no 14 .rom /A#$ du Piano/ Melody in $& no 1 .rom /A#$ du Piano/ 6tudy in $& !p, 1" Arpeggio 7Juali>ing Hand one
%egato playing $antaile
Pierrot L Pierrette F.rom op, ) is a wonder.ul walt> with a eauti.ul melody and unusual harmony& harmony& very easy and yet it sounds very Gpro.essional, My .avourite though is G6ecrets Falso .rom op, ) where arpeggio .igurations are divided etween the hands so that they are Falmost never together, 7cellent eercise in eJuali>ing the hands tone& and an eJuisite piece o. music,
Impressionistic writing& this is a very epressive piece that allows .or the introduction o. several concepts Modes Fthe piece is written in the Aeolian mode& legato playing Fthe piece reJuires that one .inger e held while the other .ingers o. the same hand play t he melody aove it& cantaile, Paul -rederic0 #owles hese are really .or intermediate students& ut I could not resist including it, hese are ecellent arrangements o. classical American .ol0 tunes, ruly enchanting pieces,
#urg #urgm; m;ll ller er #urg #urgm m;lle ller $ouperin $>erny $>erny 5iaelli
5ouc 5ouce e Plai Plaint nte e F6ig F6ighi hing ng& & !p, !p, 1< 1 lt> in in 5 minor inor&& !p !p 39 39 Condo 6tudy in A .lat& !p 139ur0a in A maor& op, 4 no, 3 Ma>ur0a in # minor& op, 3 no, Ma>ur0a in # maor no, )1 Ma>ur0a in # maor& op, " no, 1 Ma>ur0a in $ maor& op, 4 no, Ma>ur0a in $ maor& op, 33 no, 3 Ma>ur0a in $ maor& op, posth, *" no, 3 Ma>ur0a in $ minor& op, 3 no, 1 Ma>ur0a in 7 minor& op, 1" no, Ma>ur0a in - minor& op, *3 no, Ma>ur0a in : maor no, ) Ma>ur0a in : minor& op, 4 no, 1 Ma>ur0a in : minor& op, posth, *" no, Ma>ur0a in :Z minor& op, 33 no, 1 Nocturne in $ minor& no, 1 Polonaise in # maor no, 1 Polonaise in : minor no, 11 Polonaise no, 11 in :m Polonaise no, 1 in # Preludes !p, 8, no, * Preludes !p, 8, no, 9 'alt> No, 3 FAm& !p, 34 no, 'alt> No, 1 F#m& !p, Posth, *9 no, 'alt> No, 1 F-m& !p, Posth, " no, 'alt> No, 14 FA 'alt> No, 1) F7 Polonaise !p, 4 no, 1 in A 6onata in -Z minor& !p )artian .lavour, F- minor E Another sonata .ull o. rilliance& with .ast scales and compelling harmonic progressions,
"*
* 6carlatti
6onata B 4*
F$ maor @ Allegro, his is oy.ul music that ma0es you want to s0ip and ump and dance[ his is the 0ind o. music that ma0es you smile .or hours a.ter listening to it, his cures depression& serious[ :reat .or your trills and glissandoEli0e scales,
"*1
* 6carlatti
6onata B 41
"8
* 6carlatti
6onata B 49
F$ maor @ Allegro !ne o. my .avourites& this is a rilliant and da>>ling sonata with plenty o. repeated notes, It is said to represent children running through the streets o. Madrid, FA maor E Allegro @ %yrical and gently lilting sonata, $ounterpoint in three and .our parts,
F: maor @ Presto -ast and rilliant with a catchy& rhythmical theme on repeated notes, !ne o. my .avourites, F7 maor @ Presto (irtuosistic sonata that is the sort o. Gepected 6carlatti guitar imitation& 6panish rhythms& .ast scales in thirds& repeated notes and lots o. ornaments, :reat show o.. piece, I. you want to develop a certain 0ind o. techniJue& urn the $>erny and play this sonata instead,
FA minor @ Adagio @ #eauti.ul lyrical writing in three and .our part couterpoint, 7cellent as a study in voicing, Cecital material .or the intermediate player, F5 maor @ Allegro @ Another sonata ideally suited t o replace some o. the common technical studies, -ast repeated notes& ro0en chords& arpeggios& leaps& crossing hands& scale runs, his unusual& percussive @ watch out .or the castanet sounds[ E sonata has a very catchy& dancing moti., !ne o. my .avourites,
6onata B 4"
OrSor "84
Grade Composer * 6carlatti
6onata B 44*
Composition
"*3
* 6carlatti
6onata B 4"
F: maor @ Allegretto @ 6tarts with determined& percussive chords& which are .ollowed y a .ast .iguration o. great delicacy eJually shared etween the hands, :ood $>erny replacement and warm up, -ast and da>>ling this sonata eudes con.idence,
183
* 6carlatti
6onata B 481
"83
* 6carlatti
6onata B 491
"*)
* 6carlatti
6onata B )
F- minor @ Andante e cantaile Introspective& delicate and lyrical this could e an ideal choice .or opening a recital, And i. you need a study in phrasing and legato this sonata is .or you[ F5 maor @ Allegro @ Chythmical percussive eginning .ollowed y a romantic arpeggiated section Fnot unli0e a 6chuert impromptu with a most pleasing melody, A masterpiece, F$ maor @ Allegro @ Inventive sonata with many original musical ideas, 6tarts lively in 3 No, * F5& !p, *4 no, 1 'alt> No, " F$Zm& !p, *4 no, 'alt> No, 9 FA& !p, Posth, *9 no, 1 'alt> No, 13 F5& !p, Posth, " no, 3 'alt> No, 8 FA& !p, *4 no, 3 6onata in A maor& !p 1art Mo>art Mo>art Mo>art Mo>art
Condo in 5 B 48) 6onata in A maor& B 331 6onata in $ maor& B "9 6onata in 5 maor& B 311 6onata in -& B Anh 13)
Mo>art Mussorgs0y Poulenc Poulenc Poulenc
6onata in : maor& B 83 :opa0 $oda Novelette in $ maor& no 1 6taccato
Pro0o.iev Pro0o.iev
1 Pieces !p, 1 No, :avotta& !p 3& !p *& no Impromptu& !p 14 No, 1 Novelette in # minor& !p 99 No, 9 Comanc e in -Z& !p 8 No, 6onata in 5& !p,118 No, AlumlOtter III& !p 99 No, * Novelette in 5& !p 1 No, 4
Main Technical Difficulty or Benefit
Other Notes & Comments 1st mvt& Allegro moderato 3rd mvt 3rd mvt
nd mvt& $anon
Prelude !p, 11 no, 4 Prelude !p, 11 no, ) Prelude !p, 11 no, 9 Prelude !p, " no, 6tudy in $Z minor& !p No, 1 Prelude !p, 34 No, 18 Prelude !p, 34 No, 1 Idyll& !p, 4 No, 6ouvenir de #ohQme& !p 13 No, 1 HumoresJue +une F#arcarolle& !p 3"a No, * Nocturne -antasia in : minor Minti0a .rom As tres Marias $Ydi> Fsaeta 7n la Playa 7vocation $apriccio in # .lat& #'( 99
4th mvt .rom \6uite 7spabola no 1& !p 4" no " .rom \Cecuerdos de (iae& !p "1 -rom \Ieria \on the 5eparture o. his most #eloved #rother
#ach #ach #ach #ach #ach #ach #ach #ach #ach #ach #ach
7nglish 6uite No, 1 E Allemande 7nglish 6uite No, E Prelude 7nglish 6uite No, 3 E Prelude 7nglish 6uite No, 4 E Prelude 7nglish 6uite No, ) E Allemande 7nglish 6uite No, ) E Prelude 7nglish 6uite No, * E Allemande 7nglish 6uite No, * E :igue 7nglish 6uite No, * E Prelude -antasia in $ minor& #'( 9* -rench !verture FPartita in # minor #'( 831
"th and 1th mvts& 6araande and :igue
#ach #ach #ach #ach #ach #ach #ach #ach #ach& $,P,7,
-rench 6uite No, 1 E :igue -rench 6uite No, 3 E Allemande -rench 6uite No, 4 E :igue -rench 6uite No, ) E Allemande -rench 6uite No, ) E :igue -rench 6uite No, * E :igue Partita No, 3 in A minor& #'( 8" Partita No, 4 in 5& #'( 88 6onata in A .lat& ' 49o Menuett and :igue
OrSor 18* 199 1"3 1"4 1") 1"* "1 " "3 "4 ") "* "" "8 "9 8 81 8 83 84 1"" 1"8 1"9 18 181 18 183 3*" 3*8 3*9 48 3" 4" 4* 49 3"1 41 411 41 413 3" 3"3 3"4 3") 414 41) 3"* 41* 41" 3"" 418 419
Grade 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
Composer #ach& $,P,7, #ach& +,$, #art20 #art20 #art20 #eethoven
Composition 6onata in A& H 18 ' )) No, 1 F7& op, 18 'alt> No, FA& !p, 34 no, 1 'alt> No, 4 F-& !p, 34 no, 3 'alt> No, ) FA& !p, 4 'alt> No, 11 F: !p, Posth, " no, 1 'alt> No, 1* F7m 'alt> No, 19 F7
Main Technical Difficulty or Benefit
Other Notes & Comments
nd mov, @ Menuetto
OrSor Grade Composer 184 8 $lementi *) 8 5eussy *9 8 5eussy 11" 8 5eussy ** 8 5eussy *1 8 5eussy *" 8 5eussy *11 8 5eussy *1 8 5eussy *8 8 5eussy *13 8 5eussy 18" 8 5eussy 188 8 5eussy 189 8 -aurK 19 8 -aurK 191 8 -aurK 19 8 -ield 193 8 :ranados 194 8 :rieg ))" 8 :rieg ))8 8 :rieg ))9 8 :rieg )* 8 :rieg )*" 8 :rieg )*1 8 :rieg )* 8 :rieg )*3 8 :rieg )*4 8 :rieg )*) 8 :rieg )** 8 :rieg )*8 8 :rieg 19) 8 Handel 19* 8 Handel 19" 8 Handel 198 8 Handel 8 8 Haydn 83 8 Haydn 84 8 Haydn 89 8 Haydn 81 8 Haydn 81 8 Haydn 813 8 Haydn 81* 8 Haydn 8 8 Haydn 81 8 Haydn 8 8 Haydn 83 8 Haydn 8) 8 Haydn 8* 8 Haydn 88 8 Haydn 83 8 Haydn 83 8 Haydn
Composition 6onata in 5 minorilian y irth& !swald spent most o. his li.e in 7urope& so his music is completely 7uropean& with much -rench in.luence, All o. his wor0 is highly poetic and romantic,
*)"
= !swald
-euilles d/Alum !p,
Although #ra>ilian y irth& !swald spent most o. his li.e in 7urope& so his music is completely 7uropean& with much -rench in.luence, All o. his wor0 is highly poetic and romantic,
*)8
= !swald
Il neige
Although #ra>ilian y irth& !swald spent most o. his li.e in 7urope& so his music is completely 7uropean& with much -rench in.luence, All o. his wor0 is highly poetic and romantic,
**
= !swald
6everal o. the Nocturnes Fop, *
Although #ra>ilian y irth& !swald spent most o. his li.e in 7urope& so his music is completely 7uropean& with much -rench in.luence, All o. his wor0 is highly poetic and romantic,
*)4 *4*
= Preisner = 6choenerg
Gen easy pieces .or piano 6i %ittle Piano Pieces& !p, 19
they are not that easyV ut not that di..icult either, Poetic and romantic, $ompletely atonal music& and yet highly atmospheric and impressionistic& nos, & 3 and * are more re.lective,
** **1
= 6chumann = 6chumann
Alum #latter !p, 14 #unte #latter !p, 99
**
= 6hosta0ovich
Prelude !p, 34 No, 3
*"
= 6hosta0ovich
Prelude !p, 34 No, )
*8
= 6hosta0ovich
Prelude !p, 34 No, *
*9 *3 *31
= 6hosta0ov ich = 6hosta0ovich = 6hosta0ovich
Prelude !p, 34 No, 9 Prelude !p, 34 No, 1 Prelude !p, 34 No, 1
FI particularly li0e nos, 3& 4& )& *& 8& 1*& 1" FI particularly li0e nos, 1& & 4& )& *& 9& and 1 No, 9 E A.ter a chordal introduction& the second part has a mist o. sound created y a .ast chromatic .iguration on the %H #eauti.ul lyrical writing& in an impressionist style, 6tarts li0e nocturne& and near the end has a noisy passage, Allegro vivace, (ery .ast& reminds me o. a $>erny eercise .or the right hand Fmaye 6hosta0ovitch was ma0ing a parody here& similar to 5eussys 5r, :radus (ery .unny pol0a style with all you could epect .rom modern music dissonances& ig umps& sudden changes o. 0ey& itonality& wrongEnote writing, A .as t tarantellaEli0e piece, Another eauti.ul lyrical piece with a nice melody and not so dissonant as the others, Allegro non troppo E I. no, ) was $>erny .or the right hand& this is .or the le.t hand, he right hand crosses over .reJuently, Not as dissonant as the others, -ast %H .igurations Fnot dissimilar to $>erny in a Gmoto perpetuo setting, Modern harmonies and Gwrong note writing,
*3
= 6hosta0ovich
Prelude !p, 34 No, 14
Argualy the est o. the set& very lugurious& ma0ing .ull use o. the pianos orchestral sounds, Actually I read somewhere that 6to0ows0i made an orchestral version o. this prelude FI havent heard it though,
*33
= 6hosta0ovich
Prelude !p, 34 No, 1)
A very nice walt>& with the typical walt> accompaniment .irst on the right hand& then on the le.t, (ery olly,
*34 *3) *3* *3" *48
= = = = =
Prelude !p, 34 No, 1* Prelude !p, 34 No, 1" Prelude !p, 34 No, 19 Prelude !p, 34 No, 4 #agatelles& !p, )
Another humorous piece& marchEli0e& with lots o. GwrongEnote writing, A lyrical slow piece, Another lyrical piece vaguely reminiscent o. Mendelssohns (enetian #oat 6ongs, Nice end piece& gavotte style& Juite .unny, No, * (ery .ast& repetitive arpeggio .igurations on the %H, Modern yet tonal and with a minimalist idiom,
*4"
= cherepnin
6hosta0ovich 6hosta0ovich 6hosta0ovich 6hosta0ovich cherepnin
Composition
7pressions& !p, 81
Main Technical Difficulty or Benefit
Other Notes & Comments onal music ut with lots o. c hromaticism and strong rhythms, hese are all short pieces& good as encores,
K B1 B B3 B4 B) B* B" B8 B9 B1 B11 B1 B13 B14 B1) B1* B1" B18 B19 B B1 B B3 B4 B) B* B" B8 B9 B3 B31 B3 B33 B34 B3) B3* B3" B38 B39 B4 B41 B4 B43 B44 B4) B4* B4" B48 B49
L %3** %388 %3"8 %39 %3*" %4"9 %3"9 %488 %413 %3" %3) %489 %48* %38" %3"4 %39" %384 %41* %383 %3") %3*3 %3* %411 %49) %481 %3*8 %449 %3"3 %4*1 %499 %31 %43 %44 %6 " %38* %4) %4* %4"8 %391 %3)" %63* %4 %43 %*) %) %4* %1)" %31
P P )" P )8 P )9 P * P *1 P * P *3 P *4 P *) P ** P *" P *8 P *9 P " P "1 P " P "3 P "4 P ") P "* P "" P "8 P "9 P 8 P 81 P 8 P 83 P 84 P 8) P 8* P 19 P 14 P13 P 1) P P 91 P P 9" P )3 P119 P3" P1 P133 P11* P3 P1"9 P11) P 8" P1"8
K! 5m : Maor Am :m 5m - Maor Am :m 5m 5m $m :m : Maor : Maor 7m # Maor - Maor 5m - Maor 7 Maor 5 Maor $m 5 Maor A Maor -Zm A Maor #m 7 Maor 5 Maor :m :m 5m 5 Maor 5m :m Am $m - Maor A Maor $m 5m # Maor :m - Maor 5 Maor 7 Maor # Maor $m $ Maor
MO"MNTS Allegro Presto Presto Allegro Allegro Allegro Presto Allegro Allegro Presto Allegro Presto Presto Presto Allegro Presto Presto Presto Allegro Presto Allegro Allegro Allegro Presto Allegro Presto Allegro Presto Presto Moderato Allegro Aria %arghetto Allegro Allegro Allegro Allegro Allegro Minuetto Andante moderato Minuetto Allegro assai Allegro Allegro Presto Presto Presto Presto
K 0441
L %639
B) B)1 B) B)3 B)4 B)) B)* B)" B)8 B)9 B* B*1 B* B*3 B*4 B*) B** B*" B*8 B*9 B" B"1 B" B"3 B"4 B") B"* B"" B"8 B"9 B8 B81 B8 B83 B84 B8) B8* B8" B88 B89 B9 B91 B9 B93 B94 B9) B9* B9" B98 B99
%144 % %*" %*1 %41 %33) %3)* %638 %1)8 %"1 %13 %13* %4) %84 %)8 %19) %49* %3 %114 %38 %) %81 %41 %1" %94 %)3 %18) %1*8 %") %8 %"1 %3 %631 %1 %1** %43 %33 %3* %11 %1* %1"* %3* %33* %3)8 %4*) %3) %31"
P44 P1)1 P 41 P1*1 P14" P11" P ) P18 P 39 P P 9 P 1* P 49 P 3 P 33 P14 P134 P1) P " P 4 P 1 P 1" P 1 P 8 P 3) P 3 P 3 P 1 P * P4 P8 P 13 P ) P 31 P 4) P 4 P1 P 43 P 8 P 1 P 9 P 11 P 44 P 38 P" P1 P) P19 P13)
-m Allegro 7 Maor Allegro 5m Andante moderato 5 Maor Presto 5 Maor Allegro 5 Maor Allegro 5 Maor $on spirito # Maor Allegro 5 Maor 5 Maor Allegro 5 Maor 5 Maor A Maor Allegro : Maor Allegro 5m Allegro A Maor Allegro # Maor Allegro -Zm Allegro 7 Maor -m # Maor : Maor Allegro $ Maor Allegro $m Allegro E Minuetto E Minuetto A Maor Allegro : Maor Allegro :m Presto 5m Moderato e cantaile E Minuet - Maor Allegro E Minuet : Maor Allegrissimo : Maor Minuet 7m :rave E Allegro E :rave E Allegro - Maor A Maor $m - Maor $ Maor Andante moderato #m :m :rave E Andante moderato E Allegro E Minuet 5m Allegro E :rave E Allegro 5m :rave E Allegro E E E Allegro : Maor :rave E Allegro E :rave E Allegro 5m :m - Maor Minuet $ Maor 5 Maor Allegrissimo :m Allegro 7m Allegrissimo $m Allegro
B1 B11 B1 B13 B14 B1) B1* B1" B18 B19 B11 B111 B11 B113 B114 B11) B11* B11" B118 B119 B1 B11 B1 B13 B14 B1) B1* B1" B18 B19 B13 B131 B13 B133 B134 B13) B13* B13" B138 B139 B14 B141 B14 B143 B144 B14) B14* B14" B148 B149
%3)) %494 %89 %33 %44 %4 %43" %4"4 %49 %138 %4*9 %13 %98 %34) %344 %4" %4) %44 %1 %41) %1) %181 %334 %111 %3 %48" %4 %18* %9* %4* %19 %3 %4)" %8 %1 %4 %3"" %31) %4*4 %* %1" %4
%3*9 %349 %3"* %*4 %93
P3 P1)* P 88 P33 P19 P 9 P19" P 98 P 9 P9 P19 P 99 P 94 P1* P141 P1 P111 P181 P** P1" P14* P 93 P118 P18 P11 P1) P18 P198 P199 P148 P" P1)4 P9) P18 P143 P34 P113 P31 P 9) P1* P1" P"1 P4 P*" P31* P1) P1* P 48 P91 P41
$ Maor A Maor :m : Maor : Maor : Maor - Maor - Maor :m Am Am :m # Maor A Maor A Maor $m $m $ Maor 5 Maor 5 Maor 5m :m 5 Maor 7 Maor : Maor : Maor $m A Maor #m $m A Maor #m $ Maor $ Maor 7 Maor 7 Maor 7 Maor 5 Maor 5m $m 5 Maor 5m -Zm $ Maor : Maor 5 Maor : Maor 7m Am Am
Allegrissimo Allegro Allegro Allegrissimo Allegro Allegro Allegro Allegro Allegro Adagio Allegro Allegro Allegro Allegro 6pirito e presto Allegro Allegro Allegro Non presto Allegro Allegrissimo Allegrissimo Allegro Allegro Allegro (ivo Allegro Allegro Allegro Allegro Allegro $antaile Allegro Allegro Allegro Allegro Allegro Allegro Presto Allegro Allegro Allegro Allegro $antaile
Andante Allegro
B1) B1)1 B1) B1)3 B1)4 B1)) B1)* B1)" B1)8 B1)9 B1* B1*1 B1* B1*3 B1*4 B1*) B1** B1*" B1*8 B1*9 B1" B1"1 B1" B1"3 B1"4 B1") B1"* B1"" B1"8 B1"9 B18 B181 B18 B183 B184 B18) B18* B18" B188 B189 B19 B191 B19 B193 B194 B19) B19* B19" B198 B199
%11" %33 %1"9 %44) %9* %19" %11 %4) %4 %14 %1) %41" %1 %*3 %)9 %) %)1 %39 %8 %331 %33 %"" %64 %44" %41 %49 %1*3 %3*4 %1* %1"" %" %194 %139 %4"3 %189 %1"3 %" %8) %39 %143 %) %" %1* %14 %8 %618 %38 %14" % %)3
P) P38 P114 P3) P183 P8 P48 P391 P13 P418 P131 P1* P1* P* P"4 P9 P19 P P18 P4" P1*4 P1)3 P313 P )1 P149 P13* P1*3 P184 P39 P 89 P19 P)3 P" P1) P1 P11 P 4* P14) P13 P)" P)* P 18 P3 P)4 P4"9 P18) P44 P14 P13 P"*
- Maor - Maor : Maor : Maor # Maor # Maor $ Maor $ Maor $m $ Maor 5 Maor 5 Maor 7 Maor 7 Maor 5 Maor $ Maor $ Maor - Maor - Maor : Maor $ Maor : Maor # Maor #m $m Am 5m 5 Maor 5 Maor :m : Maor A Maor A Maor -m -m - Maor - Maor -m Am # Maor # Maor 5m 7 Maor 7 Maor - Maor - Maor :m #m 7m $ Maor
Allegro Andamte allegro Allegro (ivo Allegro Allegro Allegro Allegro Andante Allegro Allegro Allegro Andante E Allegro Allegro Andante moderato Andante Allegro ma non molto Allegro (ivo Allegro Andante E Allegro Allegro Allegro Allegro Allegro Allegro $antaile Andante E Allegrissimo Andante (ivo Allegro Allegro (ivo Allegro Allegro Allegro Allegro Andante Allegro Allegro Allegro Allegro Allegro Allegro Allegro Allegro Andante (ivo Allegro Andante Allegro Andante moderato
B B1 B B3 B4a B4 B) B* B" B8 B9 B1 B11 B1 B13 B14 B1) B1* B1" B18 B19 B B1 B B3 B4 B) B* B" B8 B9 B3 B31 B3 B33 B34 B3) B3* B3" B38 B39 B4 B41 B4 B43 B44 B4) B4* B4" B48
%)4 %19 %498 %38
%63 %)" %3"1 %38 %48 %13 %133 %13) %18 %1*) %33 %"3 %4 %39 %393 %34 %)9 %39 %14 %*8 %3)1 %11 %34" %399 %199 %3)4 %49 %* %4*" %49 %1)4 %1*1 %38 %" %81 %69 %18 % %3)3 %348 %4) %* %)* %63)
P4 P) P1"3 P 9* P1" P)) P1"1 P3" P14 P31) P9 P93 P"" P1)) P88 P43 P81 P3 P8" P3" P"8 P39 P1) P3* P188 P) P P11 P ) P4 P139 P 4" P393 P31" P49" P8* P1" P1 P44* P )) P )* P3*8 P431 P43 P394 P98 P99 P9* P9" P18"
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B499 B) B)1 B) B)3 B)4 B)) B)* B)" B)8 B)9 B)1 B)11 B)1 B)13 B)14 B)1) B)1* B)1" B)18 B)19 B) B)1 B) B)3 B)4 B)) B)* B)" B)8 B)9 B)3 B)31 B)3 B)33 B)34 B)3) B)3* B)3" B)38 B)39 B)4 B)41 B)4 B)43 B)44 B)4) B)4* B)4" B)48
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