En Aranjuez con tu amor, for voice & piano (or guitar) (after the second movement of. Parts Marked By. Tema partitura piano concierto de aranjuez pdf del adagio del. In the Concierto de Aranjuez, he was able to combine both folkloric.
Second movement [ ] The second movement, the best-known of the three, is marked by its slow pace and quiet melody, introduced by the, with a soft accompaniment by the guitar and strings. A feeling of quiet regret permeates the piece. Ornamentation is added gradually to the melody in the beginning.
An off-tonic trill in the guitar creates the first seeds of tension in the piece; they grow and take hold, but relax back to the melody periodically. Eventually, a climactic build-up starts. This breaks back into the main melody, molto appassionato, voiced by the strings with accompaniment from the woodwinds.
The piece finally resolves to a calm arpeggio from the guitar, though it is the strings in the background rather than the guitar’s final note that resolve the piece. Introduction (guitar, B minor).
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Vocalist Tessa Souter is deservedly becoming treasured among jazz fans and musicians alike. She combines the sonority, vocal range and discipline of a classical lieder soprano with subtle and sultry jazz inflections. Everything she sings is meaningful, well thought out and in good taste. She works with the best instrumentalists and has a consummate grasp of both swing and the modern jazz idiom. All these elements are manifest in her newest album, Beyond the Blue, where Souter takes familiar themes from classical music, adds her own lyrics to most of them, and delivers what are essentially a new set of songs that are poetic in impact.
The original melodies are all there to be heard, but the mood and interpretation are totally Souter, and all in the jazz idiom, expressing nuances of romance, love and intimacy. .JPG)
She is helped enormously by her instrumentalists, who play masterfully, supporting and elaborating on Souter's vocalizations with finesse and flair. The album begins gently with Souter's 'Prelude to the Sun' based on the second movement of Beethoven's Symphony No.7. While Beethoven wrote a dance-like piece, Souter takes it more slowly, and the lingering dance feeling makes it somewhat like a madrigal, as she refers to 'A glorious morning. Singing in my heart.' In 'The Lamp is Low' Souter gives Ravel's 'Pavane' a midnight dreamy feel, reminiscent of her album Nights of Key Largo (Venus Jazz, 2009).
The seduction builds as she asks her lover to 'dream the sweetest dream we'll ever know,' with her inflections on 'sweetest' being perhaps the most decadent single utterance ever sung on a recording, as if Souter became a channel for Marlene Dietrich for a few milliseconds. 'Dance with Me' uses the melody from the popular song 'Stranger in Paradise' from the Broadway show Kismet. It is most notable for a flavorful tag ending by on accordion, his presence being a real coup that gives the disc a special boost. 'Chiaroscuro' is based on the familiar Albinoni 'Adagio' that appears on many new age recordings. Souter makes this tune her own, however, adding sensitive and intimate lyrics lauding newfound love: 'Holding the love that's been born/ Up to the light of the dawn.'
There is a beautiful tenor saxophone solo by, offered with a laid back -like sound, and an artful piano solo by, which taken together provide a feeling of theme and variations on a melody that wants to insinuate itself into the listener's consciousness. Souter then segues to 'My Reverie,' a swing era pop song based on a Debussy piano piece. She takes it at an up tempo, leaving no doubt who is in charge.