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I present to you the famous Sicilienne (1924) fraudulently attributed to Maria Theresia Paradis (1759–1824) by its "discoverer"/actual composer Samuel Dushkin (1891–1976). Regarding upstems, I tend to tremolo most of dotted-eighth length or longer, take eighth notes with a downstroke, and sixteenths with a downstroke on the beat and an upstroke off. I only tremolo the downstems specifically notated. Crosses indicate left-hand pizzicato. . . . And enjoy!
Typographic error alert! Be patient with me.
Remedied.
Lovely piece. I must have played this on guitar with various flautists and violinists over the years out of an old "wedding book", but never knew its history. Did you put it into Eb for purposes of this arrangement, Eugene? Looks like it will lie very nicely on mandolin. Many thanks.
Was this originally for violin and piano? I see some scores on IMSLP with background info.
Quote:
Originally Posted by Bruce Clausen
Yes, originally for violin and piano. Nay, Bruce: it was originally in E-flat. I began thinking about it as an arrangement for my mandolin–guitar duo. However, as I was working to transpose (because E-flat isn't a particularly friendly key to classical-guitar technique in standard tuning), I thought, "Hey, the original E-flat is just fine for violin/mandolin." Thus, I opted to go solo instead.Quote:
Originally Posted by Jim Garber
Thanks for that, Eugene. The arrangements I've played must have been in easy guitar keys. Yes indeed, Eb can be awkward for guitar. I remember struggling briefly with Stingl's version of Bach's Eb Prelude/Fugue/Allegro in the original key (with sixth string tuned to Eb) before giving up and playing it in D like everyone else.
A weird wandering diminuendo across systems in the previous. Here graphically improved.
Attachment 181071