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    Piano: Arr. By: M. Parafeynik (MXO)

    Uploaded by

    Liz Beth
    This is a piano musical composition consisting of 40 measures of music. The piece uses various musical elements like notes, rhythms, dynamics, and expressive markings. It transitions between melodic phrases and incorporates different techniques such as accents, pedal markings, and tempo indications throughout the score. The arrangement is credited to M. Parafeynik and the piece overall provides a sample of notated piano music.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd

    Piano: Arr. By: M. Parafeynik (MXO)

    Uploaded by

    Liz Beth
    43 views4 pages
    This is a piano musical composition consisting of 40 measures of music. The piece uses various musical elements like notes, rhythms, dynamics, and expressive markings. It transitions between melodic phrases and incorporates different techniques such as accents, pedal markings, and tempo indications throughout the score. The arrangement is credited to M. Parafeynik and the piece overall provides a sample of notated piano music.

    Original Title

    03 Piano

    Copyright

    © Attribution Non-Commercial (BY-NC)

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    PDF, TXT or read online from Scribd

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    This is a piano musical composition consisting of 40 measures of music. The piece uses various musical elements like notes, rhythms, dynamics, and expressive markings. It transitions between melodic phrases and incorporates different techniques such as accents, pedal markings, and tempo indications throughout the score. The arrangement is credited to M. Parafeynik and the piece overall provides a sample of notated piano music.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    43 views4 pages

    Piano: Arr. By: M. Parafeynik (MXO)

    Uploaded by

    Liz Beth
    This is a piano musical composition consisting of 40 measures of music. The piece uses various musical elements like notes, rhythms, dynamics, and expressive markings. It transitions between melodic phrases and incorporates different techniques such as accents, pedal markings, and tempo indications throughout the score. The arrangement is credited to M. Parafeynik and the piece overall provides a sample of notated piano music.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
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    Piano

    Куда теперь идти мне


        3    
    Arr. by: M. Parafeynik (MXO)
    f
     2         
       4     
       
       
       
         
         
        
     
    5 
       6      7   
      
           
    8
          
       
             dim.    
            
           

      
    9 
           
    10 11 12 13

             
         

    pp p
        
             
              
    

      
    14 15 16

          
    
             
     

                   

       
     18 
     

            
    17
     19

          
           
    mp      
            
     
      
     
    2 Piano
    
        
    20 21
      22

    
                
                   
        
      
       
    23       25 
        26 
    24
       
      
      
           
          
    poco rit.
    p
      
               
     

       
     
      29  30 
    27
     
    28
        
           
           
       
             mp
      
               
      

          
        
    31 32 33
        
                  
               
       
               
       

    
         35     36 
          
    34 37

            
           
     
    mf

                 
        
     
              
    Piano 3
       39        
      

    38 40

                      

    
    mp

                
       
     
            
    41 42 43 44

                    


      
    mf
          
              


      

         47      48      
                        
    45 46

      
     
           
    mp cresc.

           

        
          

    3    3  50
     
            3
      
        
    49

      
     
    3
    
         mf

        
      

        
                            
     
    51 52

    
       
        
     
      
    4 Piano

                      
           
    53 54 55

          
        f
         
            
     

         59  
     58        

    56 57

              
       
     
     
    f
                  
      
        
     
     

         61          
    60        
    62
        
     
                   
    dim.

             
          
       
    63 
     

    64
        
           
        
     
        
        
     
     
      
    65 66 67

       
          
     
       
    p pp
     
    morendo

       
          
      

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