PDF Ebook GP396 - Tchaikovsky - Album for the Young Opus 39 for the PianoFrom Neil A. Kjos Music Company
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GP396 - Tchaikovsky - Album for the Young Opus 39 for the PianoFrom Neil A. Kjos Music Company
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These pieces provide your students with an outstanding introduction to music from the Romantic era. This carefully edited, newly engraved edition presents the Album For The Young in the most attractive format available. Student favorites include: Soldiers' March; The Sick Doll; The New Doll; Italian Song; German Song; Neapolitan Song; and Song of the Lark. With music ranging from intermediate to late intermediate levels, this book will be useful for several years of study.
- Sales Rank: #1893502 in Books
- Brand: Neil A. Kjos Music Company
- Published on: 1997-01-01
- Binding: Sheet music
- 44 pages
Most helpful customer reviews
0 of 2 people found the following review helpful.
a fine composition
By Goggle-Eyed Slewfoot
A few of the tests of a good composer are:
--to break free of the tyranny of square phrases. #12 is based on a 6-measure phrase. The phrases in #24 are uneven. #7 is in three 16-measure melodic units.
--to compose in a variety of styles. The album includes an accordion imitation, a couple of church hymn imitations, a few dance numbers, a couple of marches, and a variety of folk song styles. #4 is probably a spoof on Schumann.
--to devise original harmonic textures. This he exemplifies in several of the pieces, notably #6. #9 is in 3/8, with left-hand chords on the first and second beats and rests on the third beats. #16 and #23 make use of a tonic pedal.
--to write in a contrapuntal texture. #11 consists of a statement in chordal harmony, followed by a contrapuntal variation.
--to write in a variety of forms. Most of the pieces are in binary or ternary form, but #13 is a set of variations. #3 and #8 each have three subjects which are not arranged according to any conventional plan.
--to combine short motifs. This he does quite well in #2.
--to write in chromatic harmony. Music theory buffs might enjoy hunting for the German sixths (#2, 7, 19, 20), French sixths (#10, 21, 22), Italian sixths (#10), half-diminished sevenths (#16, 19, 20, 21, 23, 24)
and Phrygian cadences (#1, 6). The diminished sevenths are too numerous to list.
When Tschaikovsky abstains from chromatic harmony, it is to convey a programmic effect. In order to imitate an accordion in #12, there are no accidentals. In order to create a folk song effect, only the basic chords are used in #15, #17, and #18.
Tschaikovsky may be over-rated by the concert-going public, but he is certainly under-rated in circles of musical snobbery.
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