Ludvig Schytte: 1 hour Piano Music for Study, Positive and Energy (一小時鋼琴音樂 ~ 閱讀、正能量、積極、陪伴)

Ludvig Schytte

(April/28/1848 - November/10/1909)

Danish composer

Ludvig Schytte 25 Melodious Studies/25 Kleine Etuden

(二十五首練習曲 ，作品一百零八) Op.108

No.1 Etude in C Major

or from Essential Keyboard Etudes

100 Early Intermediate to Late Intermediate Studies

Baroque to Modern

Unit 1 : Five- finger Patterns

Alfred (44704)

No.2 Etude in C Major 'Moderato'

第二首 "C大調，中板"

No.3 Etude in G Major 'Andantino'

第三首 "G大調，小行板"

No.4 Etude in F Major 'Allegretto'

第四首 "F大調，稍快板"

No. 5 Etude in a minor

or from Essential Keyboard Etudes

100 Early Intermediate to Late Intermediate Studies

Baroque to Modern

Unit 2 : Articulation

Alfred (44704)

No.6 Allegretto

第六首 "稍快板"

No.7 Etude in D Major "Allegro moderato"

第七首 "D大調，中庸的快板"

No.8 Etude in G Major "Moderato con molto"

第八首 "G大調，"非常中庸的速度"

No.9 Etude in C Major "Allegro giocoso"

第九首 "C大調，遊戲似的快板"

No.10 Etude in B flat Major

or from Essential Keyboard Etudes

100 Early Intermediate to Late Intermediate Studies

Baroque to Modern

Unit 11 : Repeated Notes

Alfred (44704)

No.11 Etude in b minor "Agitato"

第十一首 "B小調，激動的"

No.12 Etude in G Major

or from Essential Keyboard Etudes

100 Early Intermediate to Late Intermediate

Studies Baroque to Modern

Unit 7 : Left-Hand Development

Alfred (44704)

No.13 Etude in C Major Allegro moderato

第十三首 "C大調，中庸的快板"

No.14 Etude in e Minor

第十四首 "E小調，快板"

No.15 Etude in d minor

第十五首 "D小調，行板"

No.16 Etude in C Major

第十六首 "C大調，快板"

2018 RIAM Grade 2

No.17 Etude in G Major

第十七首 "G大調，圓舞曲速度"

No.18 Etude in A Major

第十八首 "A大調，中板"

No.19 Etude in G Major

第十九首 "中庸的快板"

No.20 Etude in E flat Major

第二十首 "降E大調，ˋ中板"

No.21 Etude in C Major

第二十一首 "C大調，優美的快板"

No.22 Etude in F Major

第二十二首 "F大調，中庸的快板"

No.23 Etude in C Major

第二十三首 "快板"

No.24 Etude in E flat Major

第二十四首 "降E大調，優美的快板"

No.25 Etude in B flat Major "Moderato ma deciso"

第二十五首 (堅定的中板)

音樂英文翻譯習作 ~ 35 (莫札特鋼琴奏鳴曲 K 331 / 300i)

from (AB 1536) Mozart Piano Sonata K331 (300i)

Most of the variations adopt a different dynamic contrast in their first halves: four bars of piano answered by four of forte in a new texture.

 

大多數的變奏曲在前半段採用的是不同的力度對比:前四小節是小聲，後四小節在新的織度中是大聲的答句。

 

Not, however, in the original edition, variation 5, at bb 95-6, are only token ones.

 

然而在原始版本中，變奏五僅僅在95-6小節出現一次上述的力度對比。

 

A problem in variation 1 is that the slender dissonant notes - B#, D#, etc – are unsupported but carry the main beats.

 

問題是變奏一當中微弱的不和諧音升B、升D等，並無支撐性但卻在主要的拍子上。

 

It is better to exaggerate rather than neglect the short slurs, and the l.h. off-beat chords need touching in lightly.

 

最好是使較短的圓滑線誇大而不是忽略它，且左手的弱拍和弦觸鍵需要輕一些。

 

Beware of crushing the l.h. grace-note in variation 2.

 

要注意第二變奏在左手的短小裝飾碎音。

 

The briefest breathing space is needed before variation 3, enough to adjust to a minor key frame of mind, and this should aim at the endless legato of a fine oboist, even when the theme is doubled in octaves (where a continuing legato is implied).

 

在變奏三之前需要有一個短暫的呼吸，使其得以適應小調的心境，這應如考究的雙簧管演奏家的無止盡圓滑奏一般，即便是主題用八度雙音(意指那些持續的圓滑處)亦然。

 

The return to the major (variation 4) follows effortlessly, with the crossing quavers thought of as ‘vocal leaps’ and not pedalled through.

 

(變奏四)回到大調是毫不費力的，交叉的八分音符隨著樂思”飛躍的聲音”而非持久延續的。

 

The adagio variation needs ‘placing’ and its florid decoration suggests a tempo at least twice as slow as the original theme.

 

需“注意”慢板的變奏曲，其花俏的裝飾意味著，速度至少比原始主題慢兩倍。。

 

Bars 103-4 are the touchstone: the fifth-beat interpolations lose their magic if there is no time to observe Mozart’s infinitesimal, but meticulous, rests.

 

第103-4小節是標準，假使無暇注意到莫札特細緻的休止拍子，則將會失去那於第五拍插入的神奇力量。

 

The final allegro variation is brilliant in forte, with a foretaste of the spread l.h. chords of the Alla Turca, but light-fingered in piano.

 

最後快板變奏曲是耀眼而大聲的，預先宣告出土耳其風格的左手和弦，但在鋼琴上要輕輕地觸鍵。

 

Think in a brisk four-in-a-bar rather than two: the rapid turns in bb.128-30 need lively accents to balance the l.h. chords.

 

要用輕快的每小節四個較二個為佳:這快速的曲調在128-30小節需要活潑的重音來平衡左手和弦。

PS 若有版權問題請告知，會盡速移除，謝謝。

     若要引用本網頁翻譯，請註明出處。

Georg Friedrich Händel Impertinence, HWV 494 (with Harmonic Analysis and Score)

Harmonic Analysis / 和聲分析

音樂英文翻譯習作 ~ 34 (莫札特鋼琴奏鳴曲 K 331 / 300i)

from (AB 1536) Mozart Piano Sonata K331 (300i)

Think in a brisk four-in-a-bar rather than two: the rapid turns in bb.128-30 need lively accents to balance the l.h. chords.

 

要用輕快的每小節四個較二個為佳:這快速的曲調在128-30小節需要活潑的重音來平衡左手和弦。

PS 若有版權問題請告知，會盡速移除，謝謝。

     若要引用本網頁翻譯，請註明出處。

Jean-Louis Streabbog 12 Very Easy and Melodious Studies, Op.63 No.1 - 12 (complete album)

Jean Louis Gobbaerts

(Sep / 28 / 1835 - May / 5 / 1886)

Belgian composer

12 Very Easy and Melodious Studies, Op.63

No.1 (A Pleasant Morning)

or from Essential Keyboard Etudes

100 Early Intermediate to Late Intermediate

Studies Baroque to Modern

Unit 4 : Scales

Alfred

(44704)

No.2 Etude in C Major "Soldier’s March"

No. 3 Etude in G Major (On the Green)

or from Essential Keyboard Etudes

100 Early Intermediate to Late Intermediate

Studies Baroque to Modern

Unit 2 : Articulation

Alfred

(44704)

No.4 Etude in C Major "In The Swing"

No.5 Etude in G Major 'Why Hurry'

No.6 Etude in C Major 'Distant Bells'

No.7 Etude in F Major ("By the Seaside")

No.8 Etude in C Major 'Hop Scotch Polka'

No.9 Etude in F Major (The Stubborn Rocking Horse)

No.10 Etude in a minor (A sad story)

No.11 Etude in G Major (Chasing Butterflies)

No.12 Etude in C Major (Vacation Time)

音樂英文翻譯習作 ~ 33 (莫札特鋼琴奏鳴曲 K 331 / 300i)

from (AB 1536) Mozart Piano Sonata K331 (300i)

The final allegro variation is brilliant in forte, with a foretaste of the spread l.h. chords of the Alla Turca, but light-fingered in piano.

 

最後快板變奏曲是耀眼而大聲的，預先宣告出土耳其風格的左手和弦，但在鋼琴上要輕輕地觸鍵。

PS 若有版權問題請告知，會盡速移除，謝謝。

     若要引用本網頁翻譯，請註明出處。

Franz Joseph Haydn Piano Sonata in A, Hob.XVI:5 2nd movement 'Menuet' (with Harmonic Analysis and Score)

Harmonic Analysis / 和聲分析