PRINTED SCORE Viktor Bijelović - 3 pieces for 6 hands at the piano, Op. 11, Book 1 (of 2)
6 Hands at one piano
PRINTED SCORE - £12 + shipping cost (£3.50 for up to 4 books within the UK).
If you are outside the UK, please get in touch for a shipping estimate.
Book 1
Op. 11 No. 1 - "Fairground Waltz" focuses on different types of articulation with the legato slurs and staccato both present. The idea should be to play across the barline whenever possible, rather than accenting the first beat of each bar. A legato line should be connected to the breathing from the very start, ensuring not only a cantabile line, but also that all the players automatically play more in time with one another.
Op. 11 No. 2 - In "A Spring Walk" the question of touch is addressed from the very first page, with the legato slurs and staccato markings. As such, the idea of a legato line should be connected to the breathing at the very start, ensuring not only a cantabile line, but also that all the players automatically play more in time with one another. The differing length of legato lines should imply the weaving in and out of textures.
Op. 11 No. 3 - In "Arrival" the question of touch is addressed from the very first notes, with the legato indication and staccato markings. The opening notes should sound like a trumpet, heralding the arrival of someone important. There are several places, such as bars 18, 52 & 56, for example, where one player must take over the note from another quickly. At speed, this is a little challenging and very fun!
These pieces are written with teachers in mind, allowing players of different levels to appreciate the joys of piano chamber music. Many of the lines are doubled between the hands, giving the student and teacher the choice to play both or leave one out, for the sake of simplicity.
© Viktor Bijelović 2024
6 Hands at one piano
PRINTED SCORE - £12 + shipping cost (£3.50 for up to 4 books within the UK).
If you are outside the UK, please get in touch for a shipping estimate.
Book 1
Op. 11 No. 1 - "Fairground Waltz" focuses on different types of articulation with the legato slurs and staccato both present. The idea should be to play across the barline whenever possible, rather than accenting the first beat of each bar. A legato line should be connected to the breathing from the very start, ensuring not only a cantabile line, but also that all the players automatically play more in time with one another.
Op. 11 No. 2 - In "A Spring Walk" the question of touch is addressed from the very first page, with the legato slurs and staccato markings. As such, the idea of a legato line should be connected to the breathing at the very start, ensuring not only a cantabile line, but also that all the players automatically play more in time with one another. The differing length of legato lines should imply the weaving in and out of textures.
Op. 11 No. 3 - In "Arrival" the question of touch is addressed from the very first notes, with the legato indication and staccato markings. The opening notes should sound like a trumpet, heralding the arrival of someone important. There are several places, such as bars 18, 52 & 56, for example, where one player must take over the note from another quickly. At speed, this is a little challenging and very fun!
These pieces are written with teachers in mind, allowing players of different levels to appreciate the joys of piano chamber music. Many of the lines are doubled between the hands, giving the student and teacher the choice to play both or leave one out, for the sake of simplicity.
© Viktor Bijelović 2024
6 Hands at one piano
PRINTED SCORE - £12 + shipping cost (£3.50 for up to 4 books within the UK).
If you are outside the UK, please get in touch for a shipping estimate.
Book 1
Op. 11 No. 1 - "Fairground Waltz" focuses on different types of articulation with the legato slurs and staccato both present. The idea should be to play across the barline whenever possible, rather than accenting the first beat of each bar. A legato line should be connected to the breathing from the very start, ensuring not only a cantabile line, but also that all the players automatically play more in time with one another.
Op. 11 No. 2 - In "A Spring Walk" the question of touch is addressed from the very first page, with the legato slurs and staccato markings. As such, the idea of a legato line should be connected to the breathing at the very start, ensuring not only a cantabile line, but also that all the players automatically play more in time with one another. The differing length of legato lines should imply the weaving in and out of textures.
Op. 11 No. 3 - In "Arrival" the question of touch is addressed from the very first notes, with the legato indication and staccato markings. The opening notes should sound like a trumpet, heralding the arrival of someone important. There are several places, such as bars 18, 52 & 56, for example, where one player must take over the note from another quickly. At speed, this is a little challenging and very fun!
These pieces are written with teachers in mind, allowing players of different levels to appreciate the joys of piano chamber music. Many of the lines are doubled between the hands, giving the student and teacher the choice to play both or leave one out, for the sake of simplicity.
© Viktor Bijelović 2024
