Percy Grainger
TIGER-TIGER for piano
Bardic Edition BDE586
Kipling Setting No. 4 dished-up for piano solo.
This work exists in numerous arrangements by the composer ranging from piano solo to brass ensemble. The original version for a cappella male voice chorus dates from 1898 and is a setting of the verse heading for the story 'Tiger-Tiger!' from Rudyard Kipling’s The Jungle Book. In 1905 Grainger made some revisions, and it is this version that appears as the ninth movement in his Jungle Book cycle. This version for piano solo was made for ‘The Easy Grainger’ a projected album of various Grainger pieces to be edited by D. C. Parker which alas, never came to fruition. Barry Peter Ould
Composer’s note: This piano arrangement may serve as a study in simultaneous tone-strength differentiation (a prominent melody accompanied by subdued harmonies). The finger playing the prominent note should protrude keywards (beyond the fingers playing subdued notes) and should strike the piano key all the way down. Fingers playing subdued notes should strike at the tops of their keys only - not following-through. Fingers, hand and wrist should be held stiff during simultaneous tone-strength differentiation. Percy Aldridge Grainger September 7, 1939
This work exists in numerous arrangements by the composer ranging from piano solo to brass ensemble. The original version for a cappella male voice chorus dates from 1898 and is a setting of the verse heading for the story 'Tiger-Tiger!' from Rudyard Kipling’s The Jungle Book. In 1905 Grainger made some revisions, and it is this version that appears as the ninth movement in his Jungle Book cycle. This version for piano solo was made for ‘The Easy Grainger’ a projected album of various Grainger pieces to be edited by D. C. Parker which alas, never came to fruition. Barry Peter Ould
Composer’s note: This piano arrangement may serve as a study in simultaneous tone-strength differentiation (a prominent melody accompanied by subdued harmonies). The finger playing the prominent note should protrude keywards (beyond the fingers playing subdued notes) and should strike the piano key all the way down. Fingers playing subdued notes should strike at the tops of their keys only - not following-through. Fingers, hand and wrist should be held stiff during simultaneous tone-strength differentiation. Percy Aldridge Grainger September 7, 1939
