Chords for "La Scala di Seta" excerpts with Eugene Izotov, oboe
Tempo:
118.55 bpm
Chords used:
D
Dm
C
E
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
There are two frequent problems in the overture to La Scala di Feta.
In the Andantino parts, the part with the gruppetto,
the problem is that the last note,
when you play it too slow,
[C]
[D] sounds boring.
However, if you play the gruppetto fast, you change the last eighth note
that Rossini wrote to a sixteenth note, [Gm] [Dm]
which is very [E] nice, but that's not what's written in the music.
So you have to find a way to play the gruppetto, play the little turn that's over there, and still
incorporate it in such a way that it remains a dotted
quarter note followed by an eighth note.
And you have to make the gruppetto
imaginative and musical without changing the [D] eighth note to a sixteenth note.
Something like this.
[C]
[D]
[Dm]
[F#] [Dm]
[F#m]
[D]
[A]
Some people like to play a gruppetto here, and I think that's very nice.
It's stylish.
Actually, I like it.
But for the purpose of an audition,
I would not advise it because somebody might look at the music on the audition committee or the conductor for that matter.
So better not take that chance until
after you win the job.
[D]
Same thing here.
It's a dotted quarter followed by an eighth note.
In
[F]
[A] [G]
[D] [Dm] [F#m]
[Dm] the [N]
Allegro part of the solo, the fast solo of La Scala di Seta, the most common problem that I find is,
for some reason, so many of us are so happy when the last note, the low C,
comes out that we try to hold on to it as long as possible to show to the committee,
you see, I really can play this note.
And while that's terrific, that's not what's written.
And it's also important to realize that after the oboe solo, the piece actually continues.
So when you play the low C at the end of that descending C major scale,
the piece continues, tutti, other instruments come in, and it's very important to show to the committee,
to show to your, hopefully, future colleagues that you're aware of the context of the music and that the piece doesn't actually
[C]
[E] [F#]
[C] [D]
In the Andantino parts, the part with the gruppetto,
the problem is that the last note,
when you play it too slow,
[C]
[D] sounds boring.
However, if you play the gruppetto fast, you change the last eighth note
that Rossini wrote to a sixteenth note, [Gm] [Dm]
which is very [E] nice, but that's not what's written in the music.
So you have to find a way to play the gruppetto, play the little turn that's over there, and still
incorporate it in such a way that it remains a dotted
quarter note followed by an eighth note.
And you have to make the gruppetto
imaginative and musical without changing the [D] eighth note to a sixteenth note.
Something like this.
[C]
[D]
[Dm]
[F#] [Dm]
[F#m]
[D]
[A]
Some people like to play a gruppetto here, and I think that's very nice.
It's stylish.
Actually, I like it.
But for the purpose of an audition,
I would not advise it because somebody might look at the music on the audition committee or the conductor for that matter.
So better not take that chance until
after you win the job.
[D]
Same thing here.
It's a dotted quarter followed by an eighth note.
In
[F]
[A] [G]
[D] [Dm] [F#m]
[Dm] the [N]
Allegro part of the solo, the fast solo of La Scala di Seta, the most common problem that I find is,
for some reason, so many of us are so happy when the last note, the low C,
comes out that we try to hold on to it as long as possible to show to the committee,
you see, I really can play this note.
And while that's terrific, that's not what's written.
And it's also important to realize that after the oboe solo, the piece actually continues.
So when you play the low C at the end of that descending C major scale,
the piece continues, tutti, other instruments come in, and it's very important to show to the committee,
to show to your, hopefully, future colleagues that you're aware of the context of the music and that the piece doesn't actually
[C]
[E] [F#]
[C] [D]
Key:
D
Dm
C
E
F#
D
Dm
C
_ _ _ _ _ _ _ _
_ There are two frequent problems in the overture to La Scala di Feta.
In the Andantino parts, the part with the gruppetto, _ _ _ _ _
the problem is that the last note,
when you play it too slow,
_ _ _ _ [C] _
_ _ _ [D] sounds boring.
However, if you play the gruppetto fast, you change the last eighth note
that Rossini wrote to a sixteenth note, _ _ _ _ _ [Gm] _ _ [Dm] _
_ which is very [E] nice, but that's not what's written in the music.
So you have to find a way to play the gruppetto, play the little turn that's over there, and still
incorporate it in such a way that it remains a dotted
quarter note followed by an eighth note.
And you have to make the gruppetto
_ imaginative and musical without changing the [D] eighth note to a sixteenth note.
Something like this. _
_ _ _ _ _ _ _ [C] _
_ _ _ _ _ _ _ _
_ _ _ [D] _ _ _ _ _
_ _ _ _ _ [Dm] _ _ _
_ _ _ [F#] _ _ _ _ [Dm] _
_ _ _ _ _ _ _ [F#m] _
_ _ _ [D] _ _ _ _ _
_ _ _ _ _ [A] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ Some people like to play a gruppetto here, _ _ _ _ _ _ _ _ _ _ and I think that's very nice.
It's stylish.
Actually, I like it.
But for the purpose of an audition,
I would not advise it because somebody might look at the music on the audition committee or the conductor for that matter. _ _ _ _ _
So better not take that chance until
after you win the job.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [D] _ _ _
_ _ _ _ Same thing here.
It's a dotted quarter followed by an eighth note.
In _
_ _ _ [F] _ _ _ _ _
_ _ _ _ _ [A] _ _ [G] _
_ _ [D] _ _ [Dm] _ _ _ [F#m] _
_ [Dm] _ _ _ _ _ the _ _ _ [N] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ Allegro part of the solo, the fast solo of La Scala di Seta, the most common problem that I find is,
for some reason, so many of us are so happy when the last note, the low C,
comes out that we try to hold on to it as long as possible to show to the committee,
you see, I really can play this note. _
And while that's terrific, that's not what's written.
And it's also important to realize that after the oboe solo, the piece actually continues.
So when you play the low C at the end of that descending C major scale,
_ _ the piece continues, tutti, other instruments come in, and it's very important to show to the committee,
to show to your, hopefully, future colleagues that you're aware of the context of the music and that the piece doesn't actually_
_ _ _ _ [C] _ _ _ _
_ _ _ [E] _ _ [F#] _ _ _
_ _ _ [C] _ _ _ _ [D] _
_ _ _ _ _ _ _ _
_ There are two frequent problems in the overture to La Scala di Feta.
In the Andantino parts, the part with the gruppetto, _ _ _ _ _
the problem is that the last note,
when you play it too slow,
_ _ _ _ [C] _
_ _ _ [D] sounds boring.
However, if you play the gruppetto fast, you change the last eighth note
that Rossini wrote to a sixteenth note, _ _ _ _ _ [Gm] _ _ [Dm] _
_ which is very [E] nice, but that's not what's written in the music.
So you have to find a way to play the gruppetto, play the little turn that's over there, and still
incorporate it in such a way that it remains a dotted
quarter note followed by an eighth note.
And you have to make the gruppetto
_ imaginative and musical without changing the [D] eighth note to a sixteenth note.
Something like this. _
_ _ _ _ _ _ _ [C] _
_ _ _ _ _ _ _ _
_ _ _ [D] _ _ _ _ _
_ _ _ _ _ [Dm] _ _ _
_ _ _ [F#] _ _ _ _ [Dm] _
_ _ _ _ _ _ _ [F#m] _
_ _ _ [D] _ _ _ _ _
_ _ _ _ _ [A] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ Some people like to play a gruppetto here, _ _ _ _ _ _ _ _ _ _ and I think that's very nice.
It's stylish.
Actually, I like it.
But for the purpose of an audition,
I would not advise it because somebody might look at the music on the audition committee or the conductor for that matter. _ _ _ _ _
So better not take that chance until
after you win the job.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [D] _ _ _
_ _ _ _ Same thing here.
It's a dotted quarter followed by an eighth note.
In _
_ _ _ [F] _ _ _ _ _
_ _ _ _ _ [A] _ _ [G] _
_ _ [D] _ _ [Dm] _ _ _ [F#m] _
_ [Dm] _ _ _ _ _ the _ _ _ [N] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ Allegro part of the solo, the fast solo of La Scala di Seta, the most common problem that I find is,
for some reason, so many of us are so happy when the last note, the low C,
comes out that we try to hold on to it as long as possible to show to the committee,
you see, I really can play this note. _
And while that's terrific, that's not what's written.
And it's also important to realize that after the oboe solo, the piece actually continues.
So when you play the low C at the end of that descending C major scale,
_ _ the piece continues, tutti, other instruments come in, and it's very important to show to the committee,
to show to your, hopefully, future colleagues that you're aware of the context of the music and that the piece doesn't actually_
_ _ _ _ [C] _ _ _ _
_ _ _ [E] _ _ [F#] _ _ _
_ _ _ [C] _ _ _ _ [D] _
_ _ _ _ _ _ _ _