GRIEG | FIRST MOVEMENT of Grieg's Piano Concerto Arranged by Percy Aldridge Grainger for the piano G. SCHIRMER, Inc.First Movement of Grieg’s Piano Concerto Concert Transcription of Main "Themes and Episodes by Percy Aldridge Grainger meno mosso _—_stringendo ae sate) (slower) (quicken) ee (slow off tots) > Allegro moderato des) = pp Piano (Damper Pedal) Lento str (low) (ques ndo pesante (heavy) At 7 ‘4=84 (or somewhat slower) “Top voice prominent nT Bars 7,8,9,10, Simaltinrus fone strength derentiation, ‘The top voice, must be clearly promineatthrowghoxt the whole passage—the top ote of each chord should sound considerably londer than all the lower notes of these chords. The easiest method of “1 ‘out melodies”—with exercises for developing this skill—is described (under ‘Simultaneous’ Ditereatition”) a fhe foreword to Prelude “De Profundis” for Plano Si thy Balfour Gardiner edited by Ferey Granger Schirmer, Inc., New York). 10, etc, Sostenuto (or middie) pedat. In modern pianism the sosteauto pedal is well-nigh as important as the damper (or “loud”) pedal. In bars 7, 8,9 and 10 the drone in the bass sounds on (after the left hand has jumped sway from the drone-notes) through the agency of the sostenuto pedal. When notes are to be sustained by the sostenuto pedal in this way the keys of these notes must be struck defore the sostenuto pedal is pressed down, and the keys must be held down ste the is taken. The sostenuto pedal is operated by the left foot, which foot often has to negotiate both the ost - ‘he soft pedal (ana corda) at the same time. The damper (or “loud”) pedal, operated by the right foot,mast Be down at the moment when the sostennto pedal is taken—otherwise the whole damper pedal system is held open during retention of the sostenuto pedal, and the music blurred. For a complete analysis of sostenuto pedal technic, ‘exercises in the same, consult the above-mentioned Prelude “De Profundis” by Balfour Gardiser. | Copyright, 1085, by @. Schirmer, Inc.‘080s $ 18 Uf you wish, cut to 4 (omstting pages 6 and 6)Animato (between d= 92 & d= 112) mes 20 af Dade ane : pty bel a5 4S (p molto leggero A = & 16 No pedal No pedal 40808@ tempo at 32 cantabile @s) = Z > z 2— 2 Word mfMeno allegro (d= <2) 38 39 tranquillo e cantabile Top notes prominent mp, z 40 sostenuto (lingeringly) FTop notes prominent a4 42 animato et Bars 87,89, Pive-against-three, When practising five-against-three count to each note of the five-growp, and soe to it that the five-count is even. The second note of the triplet should be fitted in between the second and third notes of the five- group, the third note of the triplet between the fourth and fifth notes of the five-group, as above indicated. ‘Bars 97,41 42, 49,44." Tico-against-three. When practising two-against-three count to each note of the triplets. The second note of the two-group should fall exactly midway between the second and third notes of the triplet: 7 Gum 383 ‘Thus the combination of two against three should always result in the following combined rhythm, which should be even and exact: If you cannot rely on yourself to count “one, two and three"evenly, use the metronome on the triplet-coust; or count six, thus: Gort ax FE Bars 38,40, Simuttancous one-strength differentiation, To attain the prominence of the top melody-notesia the right hand, practise the method and studies given (under “Simultaneous Tone-Strength Differentiation") inthe beforementioned Prelude “De Profundis” by Balfour Gardiner. Sars t1.2, Norwegian folk-aong acale. The G sharp in bar 40,the A sharp in bar 41, follow one of the main Norwegian fotk-song scales, which has a sharpened fourth. With its key-note on C this scale reads: For cexteaded employments ofthis scale see Norwegian Folk-Songs (piano solo),op.66,by Grieg, Norwegian Peasant ‘Dances (Slaater) (piano solo) op.72,by Grieg, and Dance Rhapsody (2 pianos, 4 hands) by Frederick Delius (the last pub- fished by Universal Edition). $00088 43 poco sostenuto 45 (somewhat lingeringly) ritard. 51 ro 8132012) a wf asTempo rubato 54 Bar 60, The soft pedal (una oorda) is taken by the loft foot, which ill retain the eostenuto pedal. Th procedure in tkiag oth these pedals with the left foct is explained in the fereword to Prelude “De Profundis” by Balfour Gardiner, be- fore meationed.10 58 59 Cy a Eee ritard. Piv allegro (d= 108) >=— ag = Fe a $ Bars 67, 68,69. Guard against failure of tone in the second chord of each triplet. Especially the middle notes of these ‘chords tend to disappear. 0908