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  • Running Away

    Uploaded by

    Matthew
    13 views3 pages
    This is an impressionistic piece that was inspired by a motif given by Mr. Shawn Tan and Ms. Pamela He and done in preparation for attempting GCE-O Level Music in 2021. It utilizes a pentatonic scale and whole-tone scale to depict the sounds created by someone running away and falling into the water halfway.

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    This is an impressionistic piece that was inspired by a motif given by Mr. Shawn Tan and Ms. Pamela He and done in preparation for attempting GCE-O Level Music in 2021. It utilizes a pentatonic scale and whole-tone scale to depict the sounds created by someone running away and falling into the water halfway.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    13 views3 pages

    Running Away

    Uploaded by

    Matthew
    This is an impressionistic piece that was inspired by a motif given by Mr. Shawn Tan and Ms. Pamela He and done in preparation for attempting GCE-O Level Music in 2021. It utilizes a pentatonic scale and whole-tone scale to depict the sounds created by someone running away and falling into the water halfway.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    of 3

    Running

    Away
    Impressionistic Prelude

     
    Matthew


             
     = 50


           
       
     Impressionistic Bass

         
                        
                
               
    5

       
     simile

             
            
      
               
                
    8

       
           
        
     

          
                     
    11

       

               


       
                            
    14

       
                                   
                
       
    17

      
                                   
                
       
    19

      

       
                    
           
    21
    

            
     Rather Free Rhythm

             
           
     
                            
    29

       
                     
     
                    
    32

      
                                   
                    
    34

      
    accel.

    2
                    

           
     
    36

    

    

    g li
      

    ss.
    
    Accel.

    
     


           
    38  = 20


     
    Unwavered and incessant
     

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