Variations on 'Rule, Brittania!' (Armstrong, Peter McKenzie)

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 MIDI-sequenced
#184667 - 0.02MB - 6.5 minutes -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 62x

MID file (audio/video)
Composer (2012/3/7)

TN-rulebrit.jpg
Performer Pages:

Peter McKenzie Armstrong (Composer)

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Composer

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Creative Commons Attribution Non-commercial No Derivatives 3.0 [tag/del]

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Sheet Music

Scores

 Complete score
#173312 - 1.88MB, 14 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 332x

PDF typeset by Peter M. Armstrong
Composer (2012/1/23)

TN-rulebrit.jpg
Publisher Info.:

Peter McKenzie Armstrong

Copyright:

Creative Commons Attribution Non-commercial No Derivatives 3.0 [tag/del]

Misc. Notes:

Engraved with LilyPond 2.12.3

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General Information

Work Title Variations on 'Rule, Brittania!', for piano solo
Alternative Title
Composer Armstrong, Peter McKenzie
Key A major
Movements/Sections 8 sections:
1. Simple
2. Obstreperous
3. Harmonious
4. Finale Theme from Thomas Arne's Masque Alfred (1740), arr. P.A.
5. Topsy-turvy
5.5. Desperate
6. Reflective
7. Right on!
Year/Date of Composition 2007, revised/expanded 2011
First Performance 2007 — New York, Reality Aside Theatre: (MIDI sequencer output)
Dedication Eve; 2011 revision adds section for Wayne
Average Duration 6 minutes
Piece Style Modern
Instrumentation Piano solo


Misc. Comments

NOTES

Edition

The Variations were composed in 2007 as a MIDI piano-roll sequencer file only.
The present score is the first for human performance.  Aside from adjustments
to enable two-hand execution, and all indications for tempo / dynamics / articu-
lation / pedaling, it introduces one new variation, #5.5.

Performance

The sustain pedal may be used to provide sympathetic resonance, and to facil-
itate connection within slurs, but not to smooth over otherwise detaching articu-
lations. (See especially in variations #1 and #5.5).

The middle-voice closing of Var. 5 may be played by the soloist (rather than by
the "page turner" as indicated), if he/she can engineer an unobtrusive means
to do so.

Title

I should note that sections #1-3 are conceived less as "variations on" than as
"variations towards".

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