Download The Sound of Music: Vocal Selections - Revised Edition by Richard Rodgers, Oscar Hammerstein II PDF

By Richard Rodgers, Oscar Hammerstein II

Leisure Weekly says The Sound of track has "an impossible to resist ranking that is continually in tune!" Our deluxe revised Vocal decisions positive factors thirteen significant songs by means of Rodgers & Hammerstein, a biography, plot synopsis, background of the express and images! contains: Climb Ev'ry Mountain * Do-Re-Mi * Edelweiss * Maria * My favourite issues * see you later, Farewell * The Sound of song * and extra.

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Read or Download The Sound of Music: Vocal Selections - Revised Edition (Rodgers and Hammerstein Vocal Selections) PDF

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Additional info for The Sound of Music: Vocal Selections - Revised Edition (Rodgers and Hammerstein Vocal Selections)

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1 It would be a mistake, however, to assume that Dvorˇák’s ‘American’ style erupted on his arrival in New York. Before he set off for the United States on 15 September 1892 Dvorˇák had already prepared a work for his inaugural concert. This was not the cantata The American Flag suggested by his American patroness, Mrs Jeanette M. Thurber, but the Te Deum (op. 103, B 176). Mrs Thurber was not only set on Dvorˇák providing a work that was suitable as the composer’s introduction to New York, but also one that was appropriate to the Columbus celebrations of 1892.

A number of remote flat keys (C minor, E-flat major and A-flat major) were assayed and abandoned, as was a more conventional articulation of the dominant built on the main theme just before the soloist’s first entry. At its first 32 ‘Decisions and revisions’: sketch and compositional process Ex. 2(a) and (b) (a) & [Allegro] dolce ## [c] ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙. œ ˙ œ œ œ œ espress. 6 & 12 & (b) ## ## ˙ œ œ ˙ œ œ œ œ œ œ œ ˙. ˙ œ œ œ œ ˙ ˙ œ [sic] œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ j œ œ œ œ œœ œ. œ œ œ J [Allegro] Un poco sostenuto in tempo # & # [c] ˙ œ œ œ ˙ œ œ œ œ œ ˙ .

Concerto separate it from the products of Dvorˇák’s first fifteen months in America, there are also some marked similarities, particularly in aspects of thematic design. 1; to facilitate comparison, the Cello Concerto melody is transposed from its original B minor into E minor). A number of more motivic features which can conveniently be described as ‘American’ also occur, for instance at the Tempo 1 marking at bar 110 in the first movement, where the cello solo provides a figurational development of the opening theme following a generally pentatonic shape (see Ex.

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