Beautiful violin SHEET MUSIC from PlentyMusic Spanish Dance No.5

Описание: #SpanishDance No.5 by #Granados in an intermediate level arrangement from PlentyMusic for #violin with #classicalguitar accompaniment. #sheetmusic link: https://plentymusic.co.uk/short/?c=KN...

This popular movement dates from 1890 while use of the phyrgian scale helps gives it a Spanish identity.

Improve music practice routines using PlentyMusic sheet music and accompaniment downloads.


Context | Social | Historical | Geographical
Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar.

Rhythmic elements and detail
Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition.

Ornamentation
Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement.

Form
The Spanish Dance No. 5 is in ABA (ternary form) which was very much the composing default for instrumental compositions of the time described as the late romantic or nationalist era in music history.

Tempo
The tempo indication given by the composer in the original piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the video score which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge.

Performance Notes
The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is place as the dominant note of the succeeding Spanish Dance No. 6.

Accompaniments
Both piano and guitar accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute enabling musicians to prepare for auditions, concerts, examinations or even go busking! The beat is a dotted quarter note or crotchet in the first and last section and a quarter note or crotchet in the middle section.

Notation
An oboe part is appended to the full score which is available as a pdf. There is much detail in the score and some tonal ambiguities are created with the use of chromatic and ornamental notes. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, the use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice.

Realisation
The realisation from PlentyMusic could be presented with more nuance and the use of pauses often featured in the performances of this movement have been omitted.

Published Scores
Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. The realisation and arrangement is based on current performance practice.

Music Editor’s View
This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music.