Piano Sheets > Rimsky Korsakov Sheet Music > Flight Of The Bumblebee (ver. 1) Piano Sheet

Flight Of The Bumblebee (ver. 1) by Rimsky Korsakov - Piano Sheets and Free Sheet Music

  
About the Song
Sheet Music - Purpose and use Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores. Comprehending sheet music requires a special form of literacy: the ability to read musical notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation—as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composers and lyricists Lionel Bart, Irving Berlin and Paul McCartney. The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece. With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. In jazz music, which is mostly improvised, sheet music—called a lead sheet in this context—is used to give basic indications of melodies, chord changes, and arrangements. Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral—and aural—tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well. Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail. (More...)    Download this sheet!
About the Artist
Nikolai Andreyevich Rimsky-Korsakov (Russian: ??????? ????????? ???????-????????, Nikolaj Andreevic Rimskij-Korsakov), also Nikolay, Nicolai, and Rimsky-Korsakoff, (18 March [O.S. 6 March] 1844 21 June [O.S. 8 June] 1908) was a Russian composer, and a member of the group of composers known as "The Five." Noted particularly for a predilection for folk and fairy-tale subjects as well as his extraordinary skill in orchestration, his best known orchestral compositionsCapriccio espagnol, Russian Easter Festival Overture, and the symphonic suite Scheherazadeare considered staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. Rimsky-Korsakov hewed initially to the beliefs of fellow composer Mily Balakirev and critic Vladimir Stasov in developing a nationalistic style of composition that utilized Russian folk song and lore while eschewing traditionally Western compositional methods. While Rimsky-Korsakov embraced folk song and subjects for the musical and programmic content of his compositions throughout his career, he came to appreciate Western musical techniques after becoming a professor of harmony and orchestration at the St. Petersburg Conservatory in 1871. Putting himself through a rigorous three-year program of self-education in his initial years at the institute, he became a master of Western methods, which he incorporated into his own works alongside the influences of Mikhail Glinka and his fellow members of The Five. His techniques of composition and orchestration would become further enriched by his exposure to the works of Richard Wagner. Despite current controversy over his editing of the works of Modest Mussorgsky, Rimsky-Korsakov is now suggested in the Grove Dictionary of Music and Musicians as "the main architect" of what is now recognized by the public as the Russian style of composition. This is due not only to the considerable legacy of his own compositions, but also from his editing and preparing works by The Five for performance, which brought them into the active classical repertoire, as well as his shaping of younger composers and musicians during his decades as an educator. Gerald Abraham concludes in Grove that Rimsky-Korsakov's "own style, pellucid and based on the bold use of primary instrumental colors over a framework of clearly defined part-writing and harmony, was based on Glinka and Balakirev, Berlioz and Liszt. He transmitted it directly to two generations of Russian composers from Lyadov (b 1855) and Glazunov (b 1865) to Myaskovsky (b 1881), Stravinsky (b 1882) and Prokofiev (b 1891), all of whom were his pupils, and his general influence is evident, if less pronounced, in the orchestral music of Ravel, Debussy, Dukas and Respighi."
Random article
Sheet Music - Purpose and use Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores. Comprehending sheet music requires a special form of literacy: the ability to read musical notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation—as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composers and lyricists Lionel Bart, Irving Berlin and Paul McCartney. The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece. With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. In jazz music, which is mostly improvised, sheet music—called a lead sheet in this context—is used to give basic indications of melodies, chord changes, and arrangements. Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral—and aural—tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well. Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail. (More...)