travelsbypiano

W. A. Mozart
6 Ländlerische Tänze
for Orchestra
KV.606

original piano transcription

[tbpt89]

22 January 2012

D0UJIN EDITI0N
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

1
(Allegro) 1

( ~ 124 )

1
These charming pieces are all made up of two halves with each half repeated once, however you won’t see any
“ritornello” signs here because my transcription is slightly different in (most of) the repetitions. Also note that
there are no tempo nor volume markings in the original score: the tempo and metronome you see here are my own
suggestions; about the volume, besides the sparse indications I put, please follow the classic practice of playing the
repetitions softer (more piano).
2
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

3
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

2
(Allegro)

( ~ 138 )

4
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

5
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

3
(Moderato)

( ~ 112 )

6
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

7
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

4
(Vivace)

( ~ 150 )

8
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

9
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

5
(Allegro)

( ~ 150 )

10
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

11
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

6
(Allegro giusto)

( ~ 132 )

12
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

13
W. A. Mozart – 6 Ländlerische Tänze for Orchestra KV.606
piano transcription - travelsbypiano [tbpt89]

14
 How To Read This Score

This score was not produced in the “proper” way, that is with a music typeset program, so it won’t look
as good as it could (should?) be. Still, it is sufficient and correct,
correct meaning it carries all the necessary
information to be read and played as any other, and has been quality-checked to the best of my efforts.

The following notes are a few tips for readers accustomed to beautiful typesetting, to help them cope
with the quirks they are more likely to notice, and to make them realize that maybe a score like this is
not as deviant as they think after all.

Now, on to the tips.

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Staves
Being a piano score, notes run as usual on two staves. Occasionally they may expand to three or even

four staves if necessary. However, staves are not visually united by the customary { sign. There is only
more white space to visually separate lines.

Key signature
Alterations (b, #) and clefs are noted with the usual symbols. However they will be noted only at the
beginning of the first line without repeating them at the beginning of the following lines. Only when
the clef or an alteration changes,
changes it will be noted. It’s easier to understand if you think of a score that
runs on one single line from start to finish, for which you would need a veeeeeeeeery long (and narrow)
page to print out, that is instead clipped in many pieces – of about 4 bars each – and pasted on a
customary A4-page.

Bar reset
At every bar change, all alteration changes from the key signature are implicitly reset.
signs are only noted within the same bar and in the same stave.

Time signatures
They are noted in the usual way. Sometimes the signature is in “alla breve” to improve readability. I
usually note metronome indications too, although occasionally in a fancy way. For example for a piece
in 6/8 it is customary to note metronome indication with 3/8 as basis. Most of the time I use 1/8 as basis
instead: to get your usual base just divide by three (e.g. 1/8 = 180
3/8 = 60).

Tempo markings (Allegro, Andante and merry friends)

Noted in the usual way, however I’m a native Italian speaker so I may get creative sometimes… if
everything fails just type the mystery word into any translator program online and you’re set to go.

Bar numbers
They are always marked. Traditionally if the first bar is almost empty, containing only a few notes as
introduction to the second bar which holds the first true upbeat, it is not numbered as bar n. 1 and
instead the second bar is considered to be bar 1. Not true here: bar 1 is the bar that carries the very
first note, even if it contains only one note in the last interval. Personally I prefer this way of counting
and I use it to count the official total number of bars in my pieces.

a
Volume (p, f, etc.) and accents
Noted in the usual way, in bold italic. When you sometimes see “rf”, it stands for “rinforzando” and
means: play louder (than a moment before). Note that the “how much louder” part is left to the
interpreter.
Indications like “crescendo”, “diminuendo”, “smorzando” carry the customary meaning and are
generally written like “cresc.”, “dim.”, “smorz.”. Crescendo and Diminuendo are noted in place of their
graphical counterparts (you know, those long open fork-like signs)

Legato and Staccato

No slurs are indicated. Traditionally when a passage is not tied by a slur it may be interpreted as a
staccato passage. Not true here. Even if a slur is not there, the notes are legato, or at least to be played
with their full duration. Staccato notes are noted with half the value, followed by half the pause. I mean
for example a staccato 1/8 note will be displayed as a 1/16 note followed by a 1/16 pause. While visually
upsetting at first, it is logically correct: when you are playing your notes in staccato you are actually
playing them for only half the duration and pausing for the remaining half.

Tails (note grouping)

The “tails” of the notes of duration 1/8 or shorter are usually tied together with one or more thick lines
as the number of their tails. The program I use however sometimes groups the notes in a way which
doesn’t follow the musical rhythm. For example in a 6/8 bar with 6 1/8 notes these should generally be
grouped all together or 3 by 3. Unfortunately you will see them always grouped in 4+2, which is
generally OK but only for a 3/4 rhythm.
When this kind of quirk becomes annyoing I generally include a footnote to point that out again.
Bottom line: there is no deep meaning behind awkward groupings. Please try to focus on the notes
instead of their tails.

Pedals
Pedals
Noted rarely, and when noted, always consider them “with a grain of salt”. It’s best if you rely on your
own sensibility or ask your teachers for practical advice.

Fingering
Ditto, see above.

Right hand, Left hand

Generally the first stave is the right hand and the second stave the left hand (duh!) however keep in
mind that the subdivision of notes between the two staves you’ll see is not necessarily the best or the
most comfortable to play. I generally choose the one that is easier to read,
read not to play. Sometimes I even
leave the messy subdivision I used when composing the piece directly on the score without playing it
myself (in some preludes for instance): that’s what I call “composer’s score”. There, some work is
definitely necessary to move notes from one stave to another in order to make the whole lot more easily
readable and playable. Do not hesitate to find and play your own distribution of notes between the two
hands.

Trills, mordents and other embellishments

More likely to appear in my transcriptions, they are generally notated in the usual fashion. There may
be a footnote describing trill resolutions and/or point out exceptions.

Zoom icon (on time signature)

“If the same music were written in a bar with this time signature, it would read like this.” This
awkward device is used when the midi program on the real time signature shows the notes too close to
be readable. You must convert back the notes to the real signature to play them at the correct speed.

Finally…
Try reading the score while listening to the example (digital or human) performances you can find on
my YouTube channel or on IMSLP.org. This should clear up any doubt.

b
 Questions and Answers

Q. So what does “D0UJIN EDITI0N” mean, anyway?

A. “Doujin” is a Japanese abbreviation for “self-published”, literally “the same person”. The O’s are
replaced with zeroes to imply this is also a “zero edition” or “edition zero”.

Q.This is all fine and dandy (yeah, right…) but are you ever going to release a better looking score?
A. Most likely… NOT.

Q. Why not?
A. I don’t have the time. Consider that producing these flimsy “zero edition” scores already cost me
several hours of sleep / free time and many a fit of rage and/or frustration.

Q. Free time? Isn’t this your main occupation?

A. Not (shobon... )

Q. What about getting your scores professionally edited, proofed, printed and bound by a publishing
company?
A. That was my closet dream as a young boy...

Q. I have a request.
A. Drop me a line (see links/contact page below)

Q. I want to play your works in public!

A. Go ahead. I’m cool with it ☺ And good luck!

Q. Is it really OK without any fee or something?

A. Well, I’d be delighted to know when and where my works are played and even more to hear them
played. So if you can just send me a note and maybe toss in an mp3 of your performance to tag along,
you'll definitely make my day.

Q. Hey, is it me or is this copy-pasta changing from one pdf to the next!?

A. This stuff is turning into a collectible item... by the way this is v3.

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 Links/Contact

Main site/blog
http://travelsbypiano.wordpress.com

YouTube channel
http://www.youtube.com/user/travelsbypiano

Scores/Recordings
Scores/Recordings
http://imslp.org/wiki/Category:Novegno,_Roberto
http://travelsbypiano.musicaneo.com

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Words of Thanks

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… and Thank You

to the Great Masters of the Past...