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Le tombeau de Lekeu


Uploaded on May 20, 2017

piano

Pages 1
Duration 02:37
Measures 24
Key signature 5 sharps
Parts 1
Part names Piano
Privacy Everyone can see this score
License None (All rights reserved)
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Thaaaaaaaaaaaaaaaaaaaaaaank, I mean, thank you!
These are the sort of voicing that draw me to your music Walking up the side of a barren Rocky Mountain and finding beauty in small crags in subtle patterns in demure colors and in sharp edges Just a place this took me
Thank you. Indeed, there is beauty in desolate places.
Absolutely gorgeous, Hans - both the score and the performance.
Thank you so much! By the way, the sound is based on a midi file and not a real performance. Also much congratulations on your election as MuseScorer of the month!
The midi version was so much better than the Musescore audio, it had me fooled. It's great that the Musescore team features a few amateurs. I am in awe of the creative talent and knowledge base of this community of composers and arrangers.
Absolutely. There are also a lot of outspoken personalities. I would like to see that a young musicologist should write a thesis about the MuseScore fenomena. Social media is something new and unexplored in the world of composing and arranging.
Now dis boi likes 2 say thank you
Stop abusing time signatures, it just makes it have a very crooked and weird flow.
I think it adds to a great effect. You don't see constantly changing t-s very often. So, uh, yeah
In my opinion, I find it weird, but yeah I guess whatever Boats your float.
No, I can do what I want. Nothing stops me, not even an apodictic comment.
Yeah, that's just my opinion. But I guess you're right...
Additive rhythms - smaller (irregular) rhythmic cells joined together - have always been there, in speach, poetry, bird song, gregorian chant, Indian music and music from the Far East. They have been rediscovered in 20th century Western music. It can make things messed up, of course. Therefore things have to be clearly defined in any way whatever. For example, in this piece a lot of bars start with a descending triplet. This is an important orientation for the listener's ear. When it works, everything goes in between. When the listener gets the idea, things can be varied again. The triplet can rise up, it can be replaced by a duplet, etc.. Nothing of this has to be deliberately calculated, it can also be done intuitive.
Very good score. I particularly enjoy the fluidity and the constant changing of the time signature. Kudos to you.
So lovely. Reminds me of Debussey's work. Great job!
A lonely piece, might be good for strings.

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