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Originalno

On Holt Avenue. Jenni Brandon. Oboe sheet music.

Prevod

Na Holt Avenue. Jenni Brandon. Oboa note.

Originalno

On Holt Avenue composed by Jenni Brandon. For Oboe & Piano. Published by Imagine Music. IG.CMS145. Composer's Notes. On Holt Avenue for oboe and piano depicts daily life on the street where I used to live in Los Angeles, from the mockingbird that sang. screamed, really. at all hours of the day and night, to the view outside my window at the neighbor's lemon tree. The lemons, as they shimmered in the rain, inspired a haiku that is found at the beginning of this movement. The lemon tree waits-. rain falls on outstretched branches-. How the lemons shine. The description of the opening tempo for âœMorning Coffeeâ of âœcheerful and caffeinatedâ allows the oboe to stretch and wake up with a little help from coffee, while the movement âœDaisiesâ sings of the beauty of my favorite flowers, the gerbera daisies often in a vase on my table. This work was first recorded and released on my CD Songs of California. Music for Winds and Piano. I. Morning Coffee. II. The Lemon Tree. III. That Mockingbirdâ. IV. Daisies.

Prevod

Na Holt Avenue sestavljajo Jenni Brandon. Za oboo. Izdala Predstavljajte Music. IG.CMS145. Opombe skladateljevega. Na Holt Avenue za oboo in klavir prikazuje vsakdanje življenje na ulici, kjer sem se uporabljajo za živi v Los Angelesu, od Mockingbird, ki je pel. kričal, res. ob vseh urah dneva in noči, v pogledu izven mojega okna na sosedovo limonovca. Limone, saj shimmered v dežju, navdihnila haiku, ki se nahaja na začetku tega gibanja. Lemon tree waits-. dež pade na iztegnjeno branches-. Kako limone sijaj. Opis otvoritvenega tempo za âœMorning Coffeeâ od âœcheerful in caffeinatedâ omogoča oboe, da se raztezajo in se zbudiš z malo pomoči od kave, medtem ko je gibanje âœDaisiesâ poje o lepoti mojih najljubših rož, se Gerbera marjetice pogosto v vazi na moji . To delo je bilo najprej evidentira in objavi na mojem CD Pesmi Kaliforniji. Glasba za pihala in klavir. I. Morning Coffee. II. . III. . IV. .