GHOA-36 フレキシブル・デュオのための曲集 Vol.3 by goldenheartspublications

Songs for Flexible Instrument Duo Vol.3

フレキシブル・デュオのための曲集 Vol.3

Arr. Kouichirou Oguni 小國晃一郎

1. Pavane pour une infante défunte / 亡き女王のためのパヴァーヌ（抜粋） Maurice Ravel (1875~1937) / モーリス・ラヴェル

2. Menuett G dur BWV.Anh.114 / メヌエットト長調 Christian Petzold (1677~1733) / クリスティアン・ペツォールト

3. La prière d'une Vierge / 乙女の祈り(抜粋)

Tekla Bądarzewska-Baranowska (1834/1838~1861) / テクラ・バダジェフスカ

4. Je Te Veux / ジュ・トゥ・ヴ

Érik Satie (1866~1925) / エリック・サティ

楽器編成 (Instrumentation)

Part 1 / C Instrument, Bb Instrument, Eb Instrument, F Instrument, Bass Clef

Part 2 / C Instrument, Bb Instrument, Eb Instrument, F Instrument, Bass Clef

演奏について：

・楽器の組み合わせなど、必要に応じてパート譜からオクターヴ上げる、または下げて演奏してください（一部のパート譜は読みやすさを考慮して、スコアより 1 オクターヴ高く、あ

るいは低く記譜しています）。また、楽器によって音域的に演奏がきつい場合も、部分的にオクターヴの上げ下げをしても構いませんし、旋律を際立たせるために部分的にオクターヴを上げて演奏する事も歓迎されます（金管バンドでは Trombone, Euphonium, Tuba などにおいてト音記号の inBb 表記の楽譜が多いので、普段そういった楽譜を読み慣れている場合は Bb Instrument の楽譜を使うと良い）。

・カッコ書きの音符または休符: Breath point, カッコ書きの小玉: ossia ・「ジュ・トゥ・ヴ」のリピートは任意。

（小國晃一郎）

Remarks on Play:

・According to your instrument, you may play 1 octave higher or lower from notation.

・Notes and Rests with brackets: Breath point, Small Notes with brackets: ossia

・Repeat of “Je Te Veux” is as you like.

(Kouichirou Oguni)

Songs for Flexible Instrument Duo Vol.3

フレキシブル・デュオのための曲集 Vol.3

Pavane pour une infante défunte 亡き女王のためのパヴァーヌ(抜粋)

Maurice Ravel (1875~1937) モーリス・ラヴェル

楽譜の一部または全部を、著作権者の許可なしに複製、転載することを禁止します。

        Part 1 in C Part 2 in C             Lent    

※                ※ Breath point               ※                 

    Part 1 Part 2 5                                                                 Part 1 Part 2 10                                                                       Part 1 Part 2 16                                                        Part 1 Part 2 21                             simile                                Part 1 Part 2 (Opt.:8va) (Opt.:8va) 25                                                          

Reproducing or copying Score, in whole or in part, is prohibited without the express written consent of the copyright holder.

ª ª ª ª ª

    Part 1 Part 2 30                                                     Part 1 Part 2 35                                                 3   rit.    dim. dim.               Part 1 in C Part 2 in C                         Menuett G dur BWV.Anh.114 メヌエットト長調                    クリスティアン・ペツォールト Christian Petzold (1677~1733)     Part 1 Part 2 7                                                          Part 1 Part 2 (Opt.:8vb) 14                                                           Part 1 Part 2 21                                                    Part 1 Part 2 (Opt.:8va) 27                                                   - 2©2022 Kouichirou Oguni and Golden Hearts Publications (ONSA) ª ª ª ª ª ª

            Part 1 in C Part 2 in C (Opt.:8va)                 Andante  La prière d'une Vierge 乙女の祈り(抜粋)                       Tekla Bądarzewska-Baranowska (1834/1838~1861) テクラ・バダジェフスカ               Part 1 Part 2 (Opt.:8va) 5           3 3                3               3 3            3                   Part 1 Part 2 9           3 3               3                 3 3 3 3                          Part 1 Part 2 13                          3                           3                        Part 1 Part 2 18            3                                            3 3         più Allegro            Part 1 Part 2 22                               3 3                                        Part 1 Part 2 (Opt.:8va) 25             3 3                                        rit.     - 3©2022 Kouichirou Oguni and Golden Hearts Publications (ONSA) ª ª ª ª ª ª

      Part 1 in C Part 2 in C      Modéré Je Te Veux ジュ・トゥ・ヴ                        Valse      Érik Satie (1866~1925) エリック・サティ   Part 1 Part 2 8                                             Part 1 Part 2 16                                            Part 1 Part 2 24                                                  Part 1 Part 2 32                                                        Part 1 Part 2 40                                             Part 1 Part 2 48                                               - 4©2022 Kouichirou Oguni and Golden Hearts Publications (ONSA) ª ª ª ª ª ª

    Part 1 Part 2 56                                               Part 1 Part 2 64                     retenir             très retenu                Part 1 Part 2 72                                             Part 1 Part 2 80                                           Part 1 Part 2 88                                           Part 1 Part 2 95                                          to                Part 1 Part 2 102                                                                             Part 1 Part 2 110                                                     1.         2.             - 5©2022 Kouichirou Oguni and Golden Hearts Publications (ONSA) ª ª ª ª ª ª ª

      Part 1 Part 2 119                                       Part 1 Part 2 127                                       Part 1 Part 2 135                                           Part 1 Part 2 143                                          Part 1 Part 2 151                                                                  Part 1 Part 2 159                                         retenir                 encore D.S. al Coda     Part 1 Part 2 167         Coda                               - 6©2022 Kouichirou Oguni and Golden Hearts Publications (ONSA) ª ª ª ª ª ª