Morning Mood (easier chords)

Learn this piece

Composer

Edvard Grieg

Arrangement

Musicanyya practice material

Level

Advanced

Key

E major

Metre

6/8

Tempo

90 BPM

Length

87 bars, about 3 minutes

Hands

both

Orchestra

Flute, Oboe, Horns, Strings and Cellos

Trains

Grieg's own piano version of the sunrise from Peer Gynt with every chord inside one hand's reach: the pastoral 6/8 melody over held triads, the forte climax, the left-hand melody under right-hand figuration, trills with their endings, and the quiet return.

How to practise it

• In bars 1-2 the left hand holds one close chord, E, G♯ and B, for the whole bar. Hold it full length so it rings under the right hand's tune.
• From bar 21 the tune returns forte. Your left hand plays bass, fifth and octave in bars 21-24, then mostly bass, fifth and seventh: loop bars 21-29 at 45 BPM and land each chord with the tune.
• In bars 50-53 the tune moves to your left hand, pp, under the right hand's 16ths. Practise the left hand alone first, then keep the 16ths soft above it.
• Bars 68-69 bring trills on B, each ending in two grace notes. Practise them slowly, and keep the left hand's short chords steady under them.

Where this score came from

Arrangement for this app (CC0)

Converted from content/library/sources/own-grieg-op46-no1-easier/morning-mood-easier.ly, which is transcription A with every chord rewritten to fit one hand (each change marked "arr:" there). The Orchestra is the faithful item's, generated from this piano part: every Orchestra note doubles a piano note.

Changes from the source: Every chord fits one hand and its fingers: at most three keys, an octave struck together, a sixth held, no octave with a third or sixth inside; every change is marked "arr:" in the source. Left hand, bars 1-3, 9-11, 17-20: Grieg's tenths become close triads over the same bass (E3 B3 G#4 -> E3 G#3 B3); bars 4 and 12 drop the tied top voice. Left hand, bars 7-8, 15-47, 67-75: low chords become bass, fifth and octave (E2 B2 G#3 -> E2 B2 E3), or bass and sixth (23, 27, 29); a seventh stays in 20, 25-28, 37, 45; none rolled. Bars 32-35, 40-43: the inner voice the print gives the left hand by a bracket is written on the lower staff. Right hand, bars 3, 5-6, 11, 13-15, 23-29, 37, 45, 65, 67-75: a held inner note, or the E5 inside the octave C#5 C#6 (24-26), is shortened, moves to a closer chord tone or goes. Left hand, bars 50-53, 56-65, 79-80, 83: chords and holds keep the notes within reach (B2 E3 G#3, the octave B3 going); the bass is struck again, not held; no key is held while struck again. Right hand, bars 8 and 16: the lower voice lets go of its D#4 / F#4 where the left hand strikes the same key (the print ties it on, both hands on one key). Bars 77-78, 81-87: four-note chords keep three notes (B7 without its fifth; 77-78 in the right hand's voice); the left hand strikes E2 B2 E3 before the tremolo, ends on E1.

Limitations: written pedal is not played

Other versions

• Morning Mood Advanced

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