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Minuet in G minor arr. 2 trombones

A work that features much imitation and chromaticism found in the music collection known as the Anna Magdalena Notebook. Although often attributed to Show More...

A work that features much imitation and chromaticism found in the music collection known as the Anna Magdalena Notebook. Although often attributed to J.S. Bach the composer of this work is unknown. Music in Bach’s time was usually hand copied and identities of composers were often lost in the process. The work, intended to be played on a keyboard, in Bach’s own day, is very suited to being played by other combinations of instruments. The version for two trombones has been prepared without ornaments and repeats are not in place in either the realisation or accompaniments. Players should be aiming for a singing legato in their playing. Accompaniments are in place enabling both trombone 1 and trombone 2 players to enjoy ensemble practice as part of playing routines. They playback at 112, 116 and 120 beats per minute. A minor was the original key for the movement which has been transposed into G minor. The Trombone 1 part sounds an octave lower than originally intended and there a few octave transposition in the trombone 2 part. Close

Polonaise in G minor arr. 2 violas

An arrangement for 2 violas of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays back at Show More...

An arrangement for 2 violas of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. There are a number of octave transpositions to keep to the instruments range. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. The composer of this movement has not been identified in the music score which is found in the Notebook for Anna Magdalena Bach. Baroque scores do tend to have minimal score details. Close

Jesu Joy in 8 arr. viola & cello

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged viola & cello. There is a s Show More...

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged viola & cello. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 8/8 time and needs to be played with an awareness of the 3+3+2 pattern that underlies the rhythmic template for the movement. This pattern is a shape used in much popular music of the rock and roll era giving a contemporary feel to the music as well as providing a very good opportunity to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Accompaniments are in place playing at 98, 102 106, 110 and 114 quarter note (crotchet) beats to the minute. The sounding key is G major. Close

Minuet in F BWV App.116 arr. alto & tenor saxophones

An arrangement for alto and tenor saxophones of this uplifting piece which features imitation in the writing and like many of Bach’s short works com Show More...

An arrangement for alto and tenor saxophones of this uplifting piece which features imitation in the writing and like many of Bach’s short works composed in two sections. This binary (AB) form dance form movement needs to be played fluently with all notes being clearly articulated. The repeats are not played in the realisation which plays back at 110 quarter note (crotchet) beats to the minute sounding in the key of F. Accompaniments are in place again without repeats playing at 102, 106, 110 and 114 bpm. Close

Minuet in D minor arr 2 trombones

An arrangement of the Minuet in D minor BWV App.132 for 2 trombones from the Anna Magdalena Notebook. The playback tempo of the realisation is 100 qua Show More...

An arrangement of the Minuet in D minor BWV App.132 for 2 trombones from the Anna Magdalena Notebook. The playback tempo of the realisation is 100 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 96, 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the trombone 1 and trombone 2 parts sounding and repeats are played. The trombone 1 part sounds an octave lower than originally intended. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was an anthology containing music by J. S. Bach and several of his contemporaries. Close

March in Eb arr. trombone & tuba

An arrangement for trombone and tuba of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in th Show More...

An arrangement for trombone and tuba of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the realisation and accompaniments are in place enabling both the flautist and bassoonist to enjoy duo playing as part of practice routines. Accompaniment tempos are 72, 76, 80 and 84 half note or minim beats to the minute and there is a 4 bar count in sounded on the wood block. The ornament has also been written out in the ossia stave. Close

MInuet in G BWV App. 116 arr. viola & cello

A work that features much imitation and found in the music collection known as the Anna Magdalena Notebook. Although often attributed to J.S. Bach the Show More...

A work that features much imitation and found in the music collection known as the Anna Magdalena Notebook. Although often attributed to J.S. Bach the composer of this work is unknown. Music in Bach’s time was often copied by hand and one can imagine how easy it was to lose the identity of the original composer particularly before music publishing was established. Baroque scores tend to have little score detail but this is a bright positive movement full of energy and intention. The work, intended to be played on a keyboard, in Bach’s own day, is very suited to being played by different combinations of instruments. Ornaments have been omitted in this arrangement Accompaniments are in place enabling both viola and cello players to enjoy ensemble practice as part of playing routines. Close

March in D arr. viola & cello

An arrangement for viola and cello of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the r Show More...

An arrangement for viola and cello of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the realisation and accompaniments are in place enabling both viola and cello players to enjoy duo playing as part of practice routines. Accompaniment tempos are 72, 76, 80 and 84 half note or minim beats to the minute. Repeats are not in place in the accompaniment tracks. Close

March in Eb arr. alto & tenor saxophone

An arrangement for alto saxophone and tenor saxophone of this characterful and lively march written in cut time. A tempo of 76 half note or minim be Show More...

An arrangement for alto saxophone and tenor saxophone of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the realisation and accompaniments are in place enabling both alto saxophone and tenor saxophone players to enjoy duo playing as part of practice routines. Accompaniment tempos are 72, 76, 80 and 84 half note or minim beats to the minute. There are some octave transpositions in the tenor saxophone part to keep to the instruments range. The sheet music score is presented showing both parts on one page. C.P.E. Bach was one of J.S.Bach’s 4 composing sons. Close

Jesu Joy in 8 arr. clarinet in Bb & bass clarinet

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for clarinet in Bb and bass Show More...

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for clarinet in Bb and bass clarinet. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 8/8 time and needs to be played with an awareness of the 3+3+2 pattern that underlies the rhythmic template for the movement. This pattern is a shape used in much popular music of the rock and roll era giving a contemporary feel to the music as well as providing a very good opportunity to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Accompaniments are in place playing at 98, 102 106, 110 and 114 quarter note (crotchet) beats to the minute. The sounding key is F major. Close

Jesu Joy in 8 arr. violin & cello

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for violin & cello.. There Show More...

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for violin & cello.. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 8/8 time and needs to be played with an awareness of the 3+3+2 pattern that underlies the rhythmic template for the movement. This pattern is a shape used in much popular music of the rock and roll era giving a contemporary feel to the music as well as providing a very good opportunity to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Accompaniments are in place playing at 98, 102, 106 and 110 quarter note (crotchet) beats to the minute. Close

Jesu Joy in 8 arr. two acoustic guitars

This is a simplified and shortened version of one of J. S. Bach’s famous pieces based on a chorale (hymn) melody arranged for two acoustic guitars w Show More...

This is a simplified and shortened version of one of J. S. Bach’s famous pieces based on a chorale (hymn) melody arranged for two acoustic guitars with both notated and tab parts. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 8/8 time. The sub grouping of the 8/8 time signature is 3+3+2 which is a rhythmic template often used in much popular music of the late 1950’s and 1960’s and provides very good opportunities to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Close

Minuet in D minor arr. violin & viola

An arrangement of the Minuet in D minor BWV App. 132 for violin & viola of this beautiful melancholy movement from the Anna Magdalena Notebook. The pl Show More...

An arrangement of the Minuet in D minor BWV App. 132 for violin & viola of this beautiful melancholy movement from the Anna Magdalena Notebook. The playback tempo of the realisation is 108 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the violin and viola sounding whilst repeats are in place. The viola part is an octave higher than in the original keyboard version. Not all the composing contributions music in this collection have been correctly attributed since its publication date in 1725 but this was a collection containing music by both J. S. Bach and his contemporaries. Close

Minuet in D min arr. violin & cello

An arrangement of the Minuet in D minor BWV App. 132 for violin & cello of this beautiful melancholy movement from the Anna Magdalena Notebook. The pl Show More...

An arrangement of the Minuet in D minor BWV App. 132 for violin & cello of this beautiful melancholy movement from the Anna Magdalena Notebook. The playback tempo of the realisation is 108 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the violin and cello sounding whilst repeats are in place. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was a collection containing music by J. S. Bach and .his contemporaries. Close

Minuet in D minor arr. 2 clarinets in B Flat

An arrangement of the Minuet in D minor BWV App. 132 for 2 clarinet in Bb from the Anna Magdalena Notebook. The playback tempo of the realisation is 1 Show More...

An arrangement of the Minuet in D minor BWV App. 132 for 2 clarinet in Bb from the Anna Magdalena Notebook. The playback tempo of the realisation is 108 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the clarinet in B flat 1 and clarinet in Bb 2 parts sounding and repeats are played. The clarinet in Bb 2 part sounds an octave higher than originally intended. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was an anthology containing music by J. S. Bach and several of his contemporaries. Close

Minuet in D min arr. flute & bass clarinet

An arrangement of the Minuet in D minor BWV App.132 for flute and bass clarinet from the Anna Magdalena Notebook. Not all the composing contributions Show More...

An arrangement of the Minuet in D minor BWV App.132 for flute and bass clarinet from the Anna Magdalena Notebook. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was a collection containing music by J. S. Bach and several of his contemporaries. The playback tempo of the realisation is 108 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the flute and bass clarinet sounding whilst repeats are played. Close

Minuet in D minor arr. clarinet in B Flat & bass clarinet

An arrangement of the Minuet in D minor BWV App. 132 for clarinet in Bb and bass clarinet from the Anna Magdalena Notebook. Not all the composing cont Show More...

An arrangement of the Minuet in D minor BWV App. 132 for clarinet in Bb and bass clarinet from the Anna Magdalena Notebook. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was a collection containing music by J. S. Bach and several of his contemporaries. The playback tempo of the realisation is 108 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the clarinet in B flat and bass clarinet sounding and repeats are played. Close

March in D arr. flute & bassoon

An arrangement for flute and bassoon of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the Show More...

An arrangement for flute and bassoon of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the realisation and accompaniments are in place enabling both the flautist and bassoonist to enjoy duo playing as part of practice routines. Accompaniment tempos are 72, 76, 80 and 84 half note or minim beats to the minute and there is a 4 bar count in sounded on the wood block. Close

Minuet in G minor BWV App. 115 arr. flute & bassoon

An arrangement for flute and bassoon of this minuet from the Anna Magdalena Notebook in the key of G minor and like most dance music from this era in Show More...

An arrangement for flute and bassoon of this minuet from the Anna Magdalena Notebook in the key of G minor and like most dance music from this era in AB or binary form. The movement has a haunting quality and is often performed with the Minuet in G BWV App.114. Like so much of the music from the collection it is a great study piece for music students and can be played by a combination of different instruments. Keep the eighth notes (quavers) as even as possible and a tempo of around 116 quarter note (crotchet) beats to the minute is suggested. Ornaments are written out on ossia staves in the sheet music score which is presented to the players with both parts able to be viewed. The suggestions for how the ornaments are to be played are both pragmatic. Accompaniments are in place enabling the flute and bassoon players to participate in duet playing as part of practice routines. They play at 116, 120 & 120 bpm. The authorship of this minuet was only attributed to its true composer Christian Petzold in the 1970’s. It was included in the Bach family music collection Notebook for Anna Magdalena Bach and incorrectly attributed to J.S.Bach. As music was largely copied by hand in Bach’s time mistakes were often made with regard to the authorship of music. For researchers and musicologists this is very much an uncompleted task. Close

Sinfonia 2 BWV 788 arr. oboe, English horn & bassoon

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for the combination of three double reed instruments oboe, English horn & bassoon. The realisation Show More...

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for the combination of three double reed instruments oboe, English horn & bassoon. The realisation playback at 58 dotted quarter note or crotchet beats to the minute. Remember that good music performances come from good preparation. In this version ornaments have been omitted. Playing the minor scale in all its forms natural, harmonic and melodic, acknowledging transposition options, would be excellent preparation for playing this sinfonia. The voice leading in this sinfonia is not altogether straightforward and players will need to pay attention to the accidentals in the score possibly adding reminders if required. Conflicting accidentals often appear in different voices in the same bar. A sinfonia that features arpeggios and scale runs with the rhythmic shapes in the lines having a strong repetitive element. The note values given in Bach’s Sinfonias often give an indication of intended articulations that are intended. Players should be aiming for a singing legato in their playing. The movement needs to be played, in the first instance, with an awareness of the patterns of 3 in the 12/8 time signature (4 x 3 to the bar). Accompaniments are in place playing at 56, 58, 60, 62 & 64 dotted quarter note (crotchet) beats per minute (bpm). They feature the sounds of the English horn playing voice 2 and bassoon playing voice 3 enabling the oboist to enjoy ensemble music as part of routine practice. There is a one bar click track sounding on the woodblock as an intro on the mp3 tracks. It is important to keep to the written note durations. There are also some ambiguities in the voicing in the score that reference that the sinfonias were composed for an instrument with more than one keyboard – the harpsichord. Rests have been indicated in the voices as they are in the keyboard version of the works Some of the rhythmic notation particularly with regards to the use of rests is ambiguous. Logic and rules do not universally apply. What tends to be in place is what is good for the eye. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills and good intonation in an ensemble playing context. The Sinfonias are works conceived for three voices and feature compositional processes very much associated with Bach’s contrapuntal writing namely: repetition, inversion, imitation, augmentation, diminution. In these works the closely related keys of the dominant, sub- dominant, relative minor are explored The movement should not be played too quickly. The music editor’s advice is that players need to be clear in their intention as far as the articulation of the lines and the dynamics. Baroque scores generally have minimal score detail in place. The movement end with a major chord in what is referred to as a Picardy third. PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close

Invention No. 14 arr. clarinet in B flat & bass clarinet

J.S. Bach’s Invention 14 BWV 785 arr. clarinet in Bb & bass clarinet sounding in the key of Bb is a rhythmical work and a movement in which figurati Show More...

J.S. Bach’s Invention 14 BWV 785 arr. clarinet in Bb & bass clarinet sounding in the key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. Ornaments are omitted in this movement but make way for some exacting and rhythmic figuration. Players should have an understanding of the phrasing needed before playing. J.S. Bach’s music, is from the baroque era in music history and the convention is that there is minimal score detail in place in sheet music scores. The realisation plays back at 56 quarter note or crotchet beats to the minute. This said the movement is probably best played with an awareness of an eighth note or quaver pulse. Accompaniments are in place allowing clarinet in Bb and bass clarinet players to participate in ensemble activities as part of practice routines. The clarinet in Bb sounds on one side of the stereo channel and the bass clarinet on the other. The accompaniment tracks play back at 52, 54, 58, 60 and 62 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are different approaches to playing this invention and instrumentalists should spend time listening to performances of the work by a range of musical instruments on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. Close

Invention 14 arr. bassoon duo

J.S. Bach’s Invention 14 BWV 785 arr. bassoon sounding in the original key of Bb is a rhythmical work and a movement in which figuration is a substi Show More...

J.S. Bach’s Invention 14 BWV 785 arr. bassoon sounding in the original key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. Ornaments are omitted in this movement but make way for some exacting and rhythmic figuration. Players should have an understanding of the phrasing needed before playing. J. S. Bach’s, is from the baroque era in music history and the convention is that there is minimal score detail in place in sheet music scores. The realisation plays back at 52 quarter note or crotchet beats to the minute. That said the movement is probably best played with an awareness of an eighth note or quaver pulse. Parts appropriately transposed are attached to the full score. In this arrangement the bassoon 1 part has been transposed down an octave so that the two bassoons are essentially an octave closer than in the original piano version. Accompaniments are in place allowing bassoon players to participate in ensemble activities as part of practice routines. Bassoon 1 sounds on one side of the stereo channel and bassoon 2 sounds on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56 58 and 60 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are different approaches to playing this invention and instrumentalists should spend time listening to performances of the work by a range of musical instruments on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. Close

Invention No. 14 arr. clarinet in Bb duo

J.S. Bach’s Invention 14 BWV 785 arr. clarinet in Bb sounding in the key of Bb is a rhythmical work and a movement in which figuration is a substitu Show More...

J.S. Bach’s Invention 14 BWV 785 arr. clarinet in Bb sounding in the key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. Ornaments are omitted in this movement but make way for some exacting and rhythmic figuration. Players should have an understanding of the phrasing needed before playing. J. S. Bach’s, is from the baroque era in music history and the convention is that there is minimal score detail in place in sheet music scores. The realisation plays back at 52 quarter note or crotchet beats to the minute. This said the movement is probably best played with an awareness of an eighth note or quaver pulse. Parts appropriately transposed are attached to the full score. In this arrangement the clarinet in Bb 2 part has been transposed up an octave so that the two clarinets are an octave closer than in the original version. Accompaniments are in place allowing clarinet in Bb players to participate in ensemble activities as part of practice routines. Clarinet in Bb 1 sounds on one side of the stereo channel and clarinet in Bb 2 sounds on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56 59 and 61 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are different approaches to playing this invention and instrumentalists should spend time listening to performances of the work by a range of musical instruments on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. Close

Invention No. 14 arr. soprano & tenor saxophone duo

J.S. Bach’s Invention 14 BWV 785 arranged for soprano and tenor saxophone duo sounding in the original key of F. An excellent movement to improve e Show More...

J.S. Bach’s Invention 14 BWV 785 arranged for soprano and tenor saxophone duo sounding in the original key of F. An excellent movement to improve ensemble playing and intonation requiring saxophone players to listen to each other and be constantly aware of the eighth note or quaver pulse. This is a challenging rhythmical work and a movement in which figuration is a substitute for ornamentation. Players need to have a vision and understanding of the phrasing needed before playing this movement. In this arrangement the Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 52 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. There are a number of octave transpositions in the tenor saxophone 2 part enabling the part to be kept to the instruments range. Accompaniments are in place allowing alto saxophone players to participate in ensemble activities as part of practice routines. The soprano saxophone sounds on one side of the stereo channel and the tenor saxophone 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 59 and 61 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. Close

Invention No. 14 arr. tenor saxophone duo

J.S. Bach’s Invention 14 BWV 785 arranged for tenor saxophone duo sounding in the original key of Bb. This is a challenging rhythmical work and a mo Show More...

J.S. Bach’s Invention 14 BWV 785 arranged for tenor saxophone duo sounding in the original key of Bb. This is a challenging rhythmical work and a movement in which figuration is a substitute for ornamentation. This is an excellent movement to improve ensemble playing and intonation requiring saxophone players to both listen to each other and to be constantly aware of the eighth note or quaver pulse. Players need to have a vision and understanding of the phrasing needed before playing this movement. As the tenor saxophone 2 has been transposed down an octave the two parts are much closer to each other in the octave sense. Indivual parts appropriately transposed are appended to the full score. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 50 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. There are a number of octave transpositions in the tenor saxophone 2 part enabling the part to be kept to the instruments range. Accompaniments are in place allowing tenor saxophone players to participate in ensemble activities as part of practice routines. Tenor saxophone 1 sounds on one side of the stereo channel and the tenor saxophone 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 59 and 61 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. Close

Invention No. 14 arr. classical guitar duo

J.S. Bach’s Invention 14 BWV 785 arranged for classical guitar duo in the original key key of Bb is a rhythmical work and a movement in which figura Show More...

J.S. Bach’s Invention 14 BWV 785 arranged for classical guitar duo in the original key key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. The classical guitar is a transposing instruments sounding an octave lower than written. There are some octave transpositions in the classical guitar 2 part to keep to the range of the instrument. Guitarists have the choice of reading a notated or TAB score. TAB scores have a useful function because they locate the position of the notes on the fretboard although the same note can be played on different strings in different positions. The PlentyMusic TAB score is a literal translation of the score and not necessarily the best solution for playing the notes. Ornaments are omitted in this movement but are replaced by challenging and rhythmic figuration. Players need to have a vision and understanding of the phrasing needed before playing this movement. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 56 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. Accompaniments are in place allowing electric guitar and bass guitar players to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 52, 54, 59, 61 and 63 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. Close

Invention 14 arr. electric guitar & bass guitar

J.S. Bach’s Invention 14 BWV 785 arranged electric guitar & bass guitar in the key of Bb is a rhythmical work and a movement in which figuration is Show More...

J.S. Bach’s Invention 14 BWV 785 arranged electric guitar & bass guitar in the key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. Remember that the guitar and bass guitar are transposing instruments sounding an octave lower than written. There are some octave transpositions in the bass guitar part to keep to the range of the instrument. Guitarists have the choice of reading a notated or TAB score. TAB scores have a useful function because they locate the position of the notes on the fretboard although the same note can be played on different strings in different positions. The PlentyMusic TAB score is a literal translation of the score and not necessarily the best solution for playing the notes. Ornaments are omitted in this movement but are replaced by challenging and rhythmic figuration. Players need to have a vision and understanding of the phrasing needed before playing this movement. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. The realisation plays back at 56 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. Accompaniments are in place allowing electric guitar and bass guitar players to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 52, 54, 58, 60 and 62 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. Close

Invention 8 arr. clarinet in Bb & bass clarinet

J.S.Bach’s Invention 8 BWV 779 arranged clarinet in Bb & bass clarinet. One of the most popular of the two part inventions with scale runs and chord Show More...

J.S.Bach’s Invention 8 BWV 779 arranged clarinet in Bb & bass clarinet. One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has individual parts appended to the full score. Accompaniments are also in place to help players improve their technique and ensemble playing skills. The realisation plays back at 92 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Clarinettists players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Music cannot be played quickly until it can be played slowly. Ornaments are not generally featured in this movement whilst the realisation plays back at 92 quarter note or crotchet beats to the minute. Accompaniments are in place allowing trumpet and trombone players to participate in ensemble activities as part of practice routines. The trumpet sounds on one side of the stereo channel and the trombone on the other. The accompaniment tracks play back at, 80, 84, 88, 92, 96 and 100 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. Close

Invention 8 arr. trombone duo

J.S.Bach’s Invention 8 BWV 779 arranged for trombone duo One of the most popular of the two part inventions with scale runs and chord shapes to mast Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for trombone duo One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has individual parts appended to the full score. Accompaniments are also in place to help players improve their technical and ensemble skills. The realisation plays back at 88 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Trombone players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Music cannot be played quickly until it can be played slowly. The tuba part is fairly uncompromising and if some rescoring is required to make the part a little more playable please advise the PlentyMusic office. Ornaments are not generally featured in this movement whilst the realisation plays back at 88 quarter note or crotchet beats to the minute. Accompaniments are in place allowing trumpet and trombone players to participate in ensemble activities as part of practice routines. The trumpet sounds on one side of the stereo channel and the trombone on the other. The accompaniment tracks play back at 76, 80, 84, 88, 92 and 96 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. Close

Invention 8 arr. trumpet in B Flat & trombone

J.S.Bach’s Invention 8 BWV 779 arranged for trumpet in Bb and trombone sounding in the key of F. One of the most popular of the two part inventions Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for trumpet in Bb and trombone sounding in the key of F. One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has individual parts appended to the full score. Accompaniments are also in place to help players improve their technical and ensemble playing skills. The realisation plays back at 88 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Trumpet and trombone players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Music cannot be played quickly until it can be played slowly. Ornaments are not generally featured in this movement whilst the realisation plays back at 88 quarter note or crotchet beats to the minute. Accompaniments are in place allowing trumpet and trombone players to participate in ensemble activities as part of practice routines. The trumpet sounds on one side of the stereo channel and the trombone on the other. The accompaniment tracks play back at 76, 80, 84, 88, 92, 96 and 96 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. Close

Invention 8 arr. soprano & tenor saxophones

J.S.Bach’s Invention 8 BWV 779 arranged soprano & tenor saxophones. One of the most popular of the two part inventions with scale runs and chord sha Show More...

J.S.Bach’s Invention 8 BWV 779 arranged soprano & tenor saxophones. One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has individual parts appended to the full score. Accompaniments are also in place to help players improve their technique and ensemble playing skills. The realisation plays back at 88 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Saxophone players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Music cannot be played quickly until it can be played slowly. There are a few octave transpositions in the tenor saxophone part to keep to the instruments range Ornaments are not generally featured in this movement whilst the realisation plays back at 88 quarter note or crotchet beats to the minute. Accompaniments are in place allowing trumpet and trombone players to participate in ensemble activities as part of practice routines. The trumpet sounds on one side of the stereo channel and the trombone on the other. The accompaniment tracks play back at 76, 80, 84, 88, 92 and 96 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. Close

Invention 8 arr. flute & bassoon

J.S.Bach’s Invention 8 BWV 779 arranged for flute and bassoon. One of the most popular of the two part inventions with scale runs and chord shapes t Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for flute and bassoon. One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has individual parts appended to the full score. Accompaniments are also in place. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for woodwind players to play to improve technique The realisation plays back at 92 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Woodwind players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Music cannot be played quickly until it can be played slowly. Ornaments are not generally featured in this movement whilst the realisation plays back at 92 quarter note or crotchet beats to the minute. Accompaniments are in place allowing flute and bassoon players to participate in ensemble activities as part of practice routines. The flute sounds on one side of the stereo channel and the bassoon on the other. The accompaniment tracks play back at, 84, 88, 92, 96, 100 and 104 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. Close

Invention 8 arr. clarinet in B flat duo

J.S.Bach’s Invention 8 BWV 779 arranged for clarinet in Bb duo sounding in the key of F. One of the most popular of the two part inventions with sca Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for clarinet in Bb duo sounding in the key of F. One of the most popular of the two part inventions with scale runs and chord shapes to master. An appropriately transposed sheet music score is available from the website. Accompaniments are also in place. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for clarinettists to play to improve technique. There are some octave transpositions in the lower part to keep to the range of the instruments. The realisation plays back at 104 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Clarinet players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Remember that music cannot be played quickly until it can be played slowly. At times in the arrangement the contrapuntal lines are an octave closer together than in the piano version. Ornaments are not generally featured in this movement whilst the realisation plays back at 96 quarter note or crotchet beats to the minute. Accompaniments are in place allowing clarinettists to participate in ensemble activities as part of their practice routines. Clarinet in Bb 1 sounds on one side of the stereo channel and Clarinet in Bb on the other. The accompaniment tracks play back at 76, 80, 84, 88, 92, 96, and for the brave 100 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format. Close

Invention 4 arr. clarinet in B flat & bass clarinet

Invention 4 BWV 775 arranged for clarinet in Bb and bass clarinet sounding in the key of D minor is an appealing work featuring an opening motif or me Show More...

Invention 4 BWV 775 arranged for clarinet in Bb and bass clarinet sounding in the key of D minor is an appealing work featuring an opening motif or melodic shape that combines stepwise movement with the interval of a falling diminished seventh. The realisation plays back at 45 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written G natural (sounding F natural) but many alternate a G# (sounding F#) with the E. In the video score, which clarinet players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Accompaniments are in place allowing clarinet players to participate in an ensemble activity as part of practice routines. The Clarinet in Bb sounds on one side of the stereo channel and the Bass Clarinet on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual clarinet parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closley related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique and good intonation. Close

J.S.Bach’s Invention 4 arr. classical guitar duo (No TAB)

J.S.Bach’s Invention 4 BWV 775 arr. classical guitar duo with a notated score as the download with guitar parts attached to the full score. In t Show More...

J.S.Bach’s Invention 4 BWV 775 arr. classical guitar duo with a notated score as the download with guitar parts attached to the full score. In the key of D minor this is an appealing work featuring an opening motif or melodic shape that combines a scale shape with the interval of a falling diminished seventh. The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written F natural but many alternate a F# with the E. The ornaments can always be omitted particularly in the early stages of learning the movement. Many guitarists edit the music score in how they play the ornaments finding it difficult to sustain the hammer technique for so long. Find a solution but do ensure that both parts and instruments are imitating each other. The voicing in this arrangement with the guitar 1 sounding an octave lower than written means that the contrapuntal lines are an octave closer together than in the original piano version. In the video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Accompaniments are in place allowing classical guitar duo players to participate in an ensemble activity as part of practice routines. Classical Guitar 1 sounds on one side of the stereo channel and Classical Guitar 2 on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual guitar parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closely related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique. This is a revision and update of a previous score posted on the website. Close

Invention 4 BWV 775 arr. 2 clarinets in B flat

Invention 4 BWV 775 arranged for two clarinets in Bb sounding in the key of D minor is an appealing work featuring an opening motif or melodic shape t Show More...

Invention 4 BWV 775 arranged for two clarinets in Bb sounding in the key of D minor is an appealing work featuring an opening motif or melodic shape that combines stepwise movement with the interval of a falling diminished seventh. In this arrangement the contrapuntal lines are an octave closer than in the original piano version with both instruments notated in the treble clef. The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written G natural (sounding F natural) but many alternate a G# (sounding F#) with the E. In the video score, which clarinet players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Accompaniments are in place allowing clarinet players to participate in an ensemble activity as part of practice routines. Clarinet 1 sounds on one side of the stereo channel and Clarinet 2 on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual clarinet parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closley related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique. Close

Invention No. 13 BWV 784 arr. violin & cello

J.S.Bach’s Invention 13 in the key of A minor is a movement with some quite delightful shapes to play particularly chord shapes including minor, maj Show More...

J.S.Bach’s Invention 13 in the key of A minor is a movement with some quite delightful shapes to play particularly chord shapes including minor, major, dominant 7th & diminished 7th also in their different positions (root, first & second inversion…) This is an excellent ensemble piece encouraging players to listen to each other. In bars 21/22 there are some octave transpositions in the violin part. Ornaments are not featured in this movement whilst the realisation plays back at 68 quarter note or crotchet beats to the minute. Accompaniments are in place allowing violin and cello players to participate in ensemble activities as part of their practice routines. The violin sounds on one side of the stereo channel and the cello on the other. The accompaniment tracks play back at 58, 60, 62, 64, 66, 68, 70 and 72 quarter note (crotchet) beats per minute. This reflects the fact that the invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. As in all the inventions it is a requirement to play accurate note values. Ends of phrases are deserving of particular attention. Legato playing is suggested in the first instance although string players can offer their own playing and performance approaches which in many ways is the invitation offered in this and many other Bach music collections. There is no perfectly correct way to play this music and there is the added challenge of being able to re-visit and play the music again. Time spent listening to this work on streaming media will be invaluable to players wishing to understand the different approaches that players have when performing this movement. The principle behind J.S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s Two Part Inventions as in most music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. As concentrated and concise movements the 15 Inventions played in an ensemble context present excellent challenges and there is simply not much other music that can better prepare players for this type of music activity. An invention suited to being played by a wide range of instruments possibly with a combination of instruments belonging to different instrument families – a mix and match approach is invited. Close

Invention 5 BWV 776

J.S.Bach’s Invention No. 5 BWV 776 in Eb is a dynamic and lively movement featuring patterns and shapes that have a strong unifying element. In the Show More...

J.S.Bach’s Invention No. 5 BWV 776 in Eb is a dynamic and lively movement featuring patterns and shapes that have a strong unifying element. In the sheet music video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel the ornaments have been written out in full to clarify how they should be played. In this energetic and lively invention the lower mordent is a particular features. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. As for many of the inventions it is possibly a good idea to play the first two bars (possibly 4 bars) until they are known thoroughly before progressing to the rest of the movement. The inventions provide excellent opportunities for musicians to improve and develop a secure keyboard technique. Suggested fingering in this invention is frequently based on the direction in which the hands are moving particularly relevant for this movement because both hands are busy. An engaging and dynamic performance piece that needs to played at around 88 - 100 quarter note or crotchet beats to the minute. On the compositional processes front the sequence is quite an evident compositional process in this invention Remember that music needs to be performed slowly before it can be performed quickly. The last bar has been edited to represent current performance practice. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. On a piano or weighted keyboard there is an opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Keyboard players will find it rewarding to listen to performances of this invention on streaming platforms to get a sense of the importance of this aspect of piano playing. A plain score is attached to the edited music score available as a pdf download from the PlentyMusic website. Close

Invention 2 | piano & keyboard

J.S.Bach’s Invention 2 BWV 773 is an intermediate level movement in the key of C minor. It needs to be played with a legato touch. The playback t Show More...

J.S.Bach’s Invention 2 BWV 773 is an intermediate level movement in the key of C minor. It needs to be played with a legato touch. The playback tempo of the realisation is 52 beats per minute (bpm) and the music editor suggests omitting the ornaments when learning the piece. Like many of the inventions it that can be played on a range of keyboard instruments and by a number of different instrument combinations. To understand how the ornaments should be played keyboard players can refer to the sheet music video on the PlentyMusic You Tube channel. In this video the ornaments have been written out in full to clarify how they should be played. The inventions composed in two parts or voices are concentrated and demanding movements to play. In these works it is important to keep to keep to the length of the written note values Keyboard players will need to their fingers close to the keys and play with a lightness in the hands. Pianists will perhaps recognise that the weaker fingers need some extra practice and to solve this issue the music editor suggests practising thirds. There is opportunity to explore right hand over left playing (bar 18) and changing fingering on a repeated note. The opening shape or motif is quite long and the mood of this invention is quite melancholy with a characteristic minor 7th interval. The movement needs to played evenly and consistently with a legato touch and keyboard players will need to play with a lightness in the hands. Ornaments are in place but possibly can be omitted in the early stages of learning the piece. The inventions were originally intended to be played on the harpsichord and there is more than one suggestion of a two manual instrument in this particular invention. Composed in the key of C minor the key journey is confined to the closely related keys of the dominant (bar 7), relative minor (bar 15) and sub-dominant (bar 20). Keys, understand, are not always established as such but are described as passing modulations in the baroque era. A key or change of key is generally thought of being established when there is a cadence which tends to be more the case in music from the classical era. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. A plain score is attached to the edited music score available as a pdf download from the PlentyMusic website. Close

Invention 15 BWV 786

J. S. Bach’s Invention 15 BWV 786 in B minor is a deliberate and purposeful movement possessing a haunting quality whilst allowing keyboard players Show More...

J. S. Bach’s Invention 15 BWV 786 in B minor is a deliberate and purposeful movement possessing a haunting quality whilst allowing keyboard players to explore keyboard touches where notes are articulated staccato and/or staccatissimo. The realisation plays back at 72 quarter note or crotchet beats to the minute. A movement that needs to be played with intention, consistency and purposefulness During practice routines keyboard players can vary their playing approach to encompass the different piano articulations that can be used playing the movement. The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and more or less and imitate current modern performance practice. Ornaments are applied consistently although there is scope for players to make some additions particularly at important cadence points in movements where the option of more notes in the cadential trills can be explored. In the video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is. A plain score is attached to the edited music score. Close

Invention 12 BWV 783

Invention 12 BWV 783 is in the key of A and is a movement that communicates purpose and intention. The music editor suggests that keyboard players sh Show More...

Invention 12 BWV 783 is in the key of A and is a movement that communicates purpose and intention. The music editor suggests that keyboard players should learn the movement in the first instance without the ornaments in place being played indicated in the sheet music score. What is important in delivering the intention of the music and the music only really becomes alive at the tempo of 68 dotted quarter note or dotted crotchet notes to the minute. At the same time it would be lovely to know what the tempo this invention was in Bach’s own time when there was no vision of the piano as becoming the keyboard instrument of choice The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and imitate current modern performance practice. The edited music score has suggested fingering in place although when it comes to playing the more complicated trills keyboard players will need to refer to the sheet music video score on the PlentyMusic YouTube channel to work out appropriate fingers to use for he playing of these ornaments. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Many keyboard players whether pianists or harpsichordists approach this invention as if they are playing a virtuoso work which in many ways is surprisingly because the movement was composed well before the time that this concept was suggested attributed to describe the playing of N. Paganini. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is. A plain score is attached to the edited music score. Close

Invention 11 BWV 782

J .S. Bach’s Invention 11 BWV 782 is a work exploring the scale of G minor. The chromatic element is quite strong and the resulting accidentals make Show More...

J .S. Bach’s Invention 11 BWV 782 is a work exploring the scale of G minor. The chromatic element is quite strong and the resulting accidentals make this a challenging score to read. The playback score has a tempo of 64 quarter note or crotchet beats to the minute. It is a movement that can be played at an even slower tempo than 64 bpm. Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing should be avoided. The music editor has avoided ornaments occurring in both voices at the same time. The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and more or less and imitate current modern performance practice. Ornaments are applied consistently although there is scope for players to make some additions particularly at important cadence points in movements where the option of more notes in the cadential trill can be explored. This is particularly the case in music played at relative slow tempi. In the video score the ornaments have been written out as they sound in the realisation to represent exactly what is being played. This invention provides an excellent opportunity for players to become familiar with the scale of G minor in both its harmonic and melodic minor forms. Players will possibly need to edit their scores with reminders about accidentals within the bar. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Playing levels will perhaps need to be reviewed when different instrument combinations are involved. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms to get a sense of how important an aspect of piano playing this is. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. Those learning how to use music notation software will find this another excellent study to copy simply because of the many accidentals that require attention. Close

Invention 10 BWV 781

Invention 10 BWV 781 in the key of G is a challenging invention to play simply from how individual keyboard players approach how to articulate the no Show More...

Invention 10 BWV 781 in the key of G is a challenging invention to play simply from how individual keyboard players approach how to articulate the notes point. It is interesting to observe the approaches to playing this movement. Many play the invention articulating the eighth note or quavers staccato while others play the movement with a legato touch. The former approach requires a lightness in the hands and can be a challenging to play because of the tension that is created in the hands and wrist. Players should listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. What is fascinating is to hear some of the greatest pianists and harpsichordists playing what are really considered to be basic learning pieces. The best way of learning anything about music is by listening although in this modern world video footage now offers a very supportive and complementary medium particularly when camera angles allow viewers to see what musician’s hands are during a performance. In the video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Articulation markings are also indicated in this particular score. The music editor has avoided placing ornaments occurring at the same time in the two voices. The long trills occurring in bar 20 (treble clef) and bar 23 (bass clef) need to be played in a rhythmical and controlled manner with the left hand trill mirroring the right hand. The suggested fingering in place on the edited music score is frequently determined by the direction in which the music and the hands are moving. Remember that movements cannot be played quickly until they be played slowly! The music editor has chosen not to double ornaments where they occur in both voices simply because it lessens and contradicts the contrast in the parts. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. A plain score is attached to the edited music score. Close

Invention 9 BWV 780 | piano & keyboard

J.S.Bach’s Invention No. 9 BWV 780 is a slow tempo movement in the key of F minor. A haunting and melancholy movement, the realisation plays back at Show More...

J.S.Bach’s Invention No. 9 BWV 780 is a slow tempo movement in the key of F minor. A haunting and melancholy movement, the realisation plays back at 60 quarter note or crotchet beats to the minute. It is a movement that can be played at an even slower tempo. Legato playing is also needed in a performance. The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and more or less and imitate current modern performance practice. Ornaments are applied consistently although there is scope for players to make some additions particularly at important cadence points in movements where the option of more notes in the trill can be explored. In the sheet music video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Players may well possibly need to edit their scores with reminders about accidentals within the bar. Playing the scale of F minor in the harmonic and melodic versions will provide a valuable assist in preparing this invention for performance. F minor in much of J.S.Bach’s music is a key identified with melancholy and pathos particularly with a falling or sighing motif as heard in the opening of this invention. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. The intention in the duo arrangement is to help players become better ensemble players and to grow as musicians playing music as close to the composer’s intentions as possible. These are concentrated and demanding movements to play. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms to get a sense of how important an aspect of piano playing this is. Those learning how to use music notation software will find this an excellent and frustrating study to copy simply because of the many accidentals that require attention. A plain score is attached to the edited music score. Close

Invention 3 | piano & keyboard

J.S.Bach’s Invention No. 3 BWV 774 in the key of D offers rhythmic challenges to the keyboard player. It is an intermediate level movement with the Show More...

J.S.Bach’s Invention No. 3 BWV 774 in the key of D offers rhythmic challenges to the keyboard player. It is an intermediate level movement with the playback tempo of the realisation being 56 dotted quarter note or crotchet beats to the beats per minute (bpm) It is best to play the work with a sense of there being one beat to the bar. There are three scores available in the download i) and edited music score with suggested fingering in place and with the ornaments written out as in the sheet music video ii) a plain score and iii) an edited sheet music score with suggested fingering in place and the ornaments indicated. The music editor suggests that this a challenging invention to play. For those wishing for clarification as to how the ornaments should be played refer to the video score on the PlentyMusic YouTube channel. The ornaments are probably best omitted when learning the piece whilst fingers need to be kept as close as possible to the piano keys. Suggested fingering is in place in the edited score. The inventions are concentrated and demanding movements to play for the intermediate level player. This is an interesting Invention to study because of the wide variation in how the movement is performed particularly from the tempo point of view and the approach to playing the ornaments. Many pianists for example trill the long tied notes beginning at bar 26. The points of imitation at the start of the phrases are something that keyboard players need to particularly communicate in their playing. The Inventions benefit from being played with a lightness in the hands and consideration as to how notes are articulated. Exaggerated playing should be avoided and is not appropriate to this style. The limitations of the realisation is that the weight distribution between the hands is not truly represented in how the music should be played on the piano. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. A plain score is appended to the edited music score. Close

Julia Florida arr. piano solo

Julia Florida by Agustín Barrios is an intermediate level piano transcription of a popular guitar work by the Paraguyan composer. Barrios was also a Show More...

Julia Florida by Agustín Barrios is an intermediate level piano transcription of a popular guitar work by the Paraguyan composer. Barrios was also a gifted poet and artist born in a country with a strong folk harp playing tradition. His music, relatively unknown outside guitar circles, includes 100 original movements and some 200 arrangements of music by other composers. He also recorded and established a teaching tradition and legacy for the playing of the instrument. His music can be identified with the late romantic tradition and is influenced by the folk music of South America , religious and European art music traditions especially the baroque. The re-discovery of his music in the 1970’s is particularly due to the playing his music by the classical guitarist. John Williams This transcription from guitar to piano very much keeps to the composer’s original intention. Some use of the sustaining pedal is suggested as is tempo rubato. The piano arrangement generally keeps to the voicing and intention of the guitar with the occasional addition of octaves where they are considered appropriate. There are some variants as to how the movement closes. The movement is composed in the style of a barcarola or barcarolle which originates as a Venetian gondolier's song and features a 6/8 time signature combined with gently rocking rhythmic shapes. Close

Duet No.2 in F BWV 803 (Piano)

The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingerin Show More...

The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingering in place and the cadential ornamentation is written out. The second duet in F major BWV 803 is a fugue written in the form of a da capo aria ABA. The 4 Duets are part of Clavier-Übung III or the German Organ Mass and composed really at the zenith of the composer’s contrapuntal writing. The edited music score has suggested fingering in place which should serve as a useful guide in the first instance. The music editor’s concept is that once familiarised with the movement players will default to the plain score perhaps substituting their own choice of fingering when they feel it is appropriate.The tempo of the piano realisation and video score is 96 quarter note beats (crotchet) beats to the minute. A piece when played on the piano with energy and purpose that really can/does come alive. This is quite stunning contrapuntal music composed when J.S. Bach was at the top of his form. A very delicate almost paintbrush stoke is required particularly in the B section but an awareness of how to use weight in the hands is also most applicable in the A section. It is becoming one of the music editors most absorbing pieces to play and listen to simply because it explores so many aspects of articulation and performance and yet the conception is in just two parts. Pianists need to have a Lightness in the hands and touch needs to be explored at all times. Close

Sinfonia No.12 in A BWV 798 (Organ)

The Sinfonias of J.S. Bach are three voiced works and can be played on either the harpsichord, piano or organ. There are 15 in the collection all of w Show More...

The Sinfonias of J.S. Bach are three voiced works and can be played on either the harpsichord, piano or organ. There are 15 in the collection all of which explore contrapuntal writing to the full. Bach’s intention was to prepare students for composition and a cantabile style of playing. The autograph copy of the Sinfonia’s is dated 1723. The organ realisation plays back at a tempo of 80 quarter note beats to the minute. The Two Part Inventions and Sinfonias are essential repertoire for all keyboard players and not a bad introduction to playing Bach on the organ. They are ideal “warm up” pieces. Close

Invention 8 BWV 779 organ

J.S.Bach’s Invention 8 BWV 779 in F is one of the most popular of the two part inventions and available as a free sheet music score from PlentyMusic Show More...

J.S.Bach’s Invention 8 BWV 779 in F is one of the most popular of the two part inventions and available as a free sheet music score from PlentyMusic. Cadential preparation is a strong feature and because is a relatively familiar keyboard work pianists will need to ensure that it has been well prepared before a performance. The realisation plays back at 96 quarter note or crotchet beats to the minute. Many play it faster and interestingly it is an invention without ornaments. Avoid playing the movement too loudly and keep a lightness in the hands. Remember that music cannot be played quickly until it can be played slowly. Keyboard players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Keyboard players will need to keep a lightness in the hands if they are to play the movement at tempo. Fingers will also need to be close to the keys. Fingering choices dependent on the direction in which the fingers and hands are moving also has a context with this particular invention. An uplifting and appealing invention giving keyboard players the opportunity to combine legato and detached or staccato playing. Keyboard players are in familar territory both with the harmonic outline or key journey and the compositional processes used This invention generally invites more of a consistent approach and vision which is suggested and supported by the recordings available. Again it is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. What is fascinating is to hear some of the greatest pianists and harpsichordists playing what really are considered to be learning pieces. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. A plain score is attached to the edited music score. Close

Duet No.2 in F BWV 803

The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingerin Show More...

The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingering in place and the cadential ornamentation is written out. The second duet in F major BWV 803 is a fugue written in the form of a da capo aria ABA. The 4 Duets are part of Clavier-Übung III or the German Organ Mass and composed really at the zenith of the composer’s contrapuntal writing. The edited music score has suggested fingering in place which should serve as a useful guide in the first instance. The music editor’s concept is that once familiarised with the movement players will default to the plain score perhaps substituting their own choice of fingering when they feel it is appropriate. The organ realisation and video score keeps to the same registration but in a performance there is opportunity to change the registration in the middle B section. The organ realisation plays back at 84 quarter note beats to the minute. Close

First Movement: Andante spiccato (organ version) from Concerto in D minor BWV 794 (after Marcello) Organ

This is J.S. Bach’s transcription of the first movement from A. Marcello’s oboe concerto. Bach was a great copier of music making it suitable for Show More...

This is J.S. Bach’s transcription of the first movement from A. Marcello’s oboe concerto. Bach was a great copier of music making it suitable for performance on the organ. Bach’s version dates from 1715. The score is marked Andante spiccato. Spiccato is a reference to a type of staccato and bowing technique on a string instrument. There is much to be learnt about the baroque concerto playing this movement and the terms frequently associated with the music all have a context. Tutti (all) ritornello (a recurring passage / theme / refrain) ripieno (whole group) concertino (solo group) episode (a musical section or passage that is not the theme). A competent performance of this movement should demonstrate that the player has a clear understanding of both the structure and texture. Remember that Bach’s keyboard transcription was originally an orchestral work. Ornaments featured in the movement are presented simply and consistently. Keyboard players will find many variants in terms of their frequency and their interpretation. Listen to recordings and copy the best of modern practice is the best advice. When learning the piece the music editor suggests omitting the ornaments. The ornaments have been written out in the piano video score available to view on our YouTube channel (the same ornaments feature in both the piano and organ sheet music scores). The organ sheet music score available from the PlentyMusic website has the symbols for the ornaments in place which understandably gives the score visual clarity. The organ realisation plays back at 72 quarter note (crotchet) beats to the minute. Clarity in the articulation of every note is the challenge in playing the music of J. S. Bach. As is the custom with the notation of baroque music there is very little score detail but understandably as the piano invites dynamic shading there is scope for interpretation and nuance in a performance. The movement ends with a Tierce de Picardy aka a Picardy third. This is essentially refers to the use of a major chord at the end of a piece in the minor key. Close

First Movement: Andante spiccato (piano version) from Concerto in D minor BWV 794 Piano

This is J.S. Bach’s transcription of the first movement from A. Marcello’s oboe concerto. Bach was a great copier of music making it suitable for Show More...

This is J.S. Bach’s transcription of the first movement from A. Marcello’s oboe concerto. Bach was a great copier of music making it suitable for performance on the organ. Bach’s version dates from 1715. The score is marked Andante spiccato. Spiccato is a reference to a type of staccato and bowing technique on a string instrument. There is much to be learnt about the baroque concerto playing this movement and the terms frequently associated with the music all have a context. Tutti (all) ritornello (a recurring passage / theme / refrain) ripieno (whole group) concertino (solo group) episode (a musical section or passage that is not the theme). A competent performance of this movement should demonstrate that the player has a clear understanding of both the structure and texture. Remember that Bach’s keyboard transcription was originally an orchestral work. Ornaments featured in the movement are presented simply and consistently. Keyboard players will find many variants in terms of their frequency and their interpretation. Listen to recordings and copy the best of modern practice is the best advice. When learning the piece the music editor suggests omitting the ornaments. The piano sheet music score available from the PlentyMusic website has the symbols for the ornaments in place which understandably gives the score more visual clarity. Players may wish to review the use of ornaments in the light of their own listening and study. Ornaments always need to played rhythmically with clarity and consistency. The piano realisation plays back at 84 quarter note (crotchet) beats to the minute. The ornaments have been written out in the piano video score available to view on our YouTube channel. Pianists need to approach a lightness in the hands and the music editor suggests a dry acoustic with minimal use of the sustaining pedal. Clarity in the articulation of every note is the challenge in playing the music of J. S. Bach. As is the custom with the notation of baroque music there is very little score detail but understandably as the piano invites dynamic shading there is scope for interpretation and nuance in a performance. The movement ends with a Tierce de Picardy aka a Picardy third. This is essentially refers to the use of a major chord at the end of a piece in the minor key. Close

Second Movement: Adagio from Concerto in D minor BWV 794 Piano

This is J.S. Bach’s transcription of the second movement from A. Marcello’s oboe concerto. Bach was a great copier of music often making it suitab Show More...

This is J.S. Bach’s transcription of the second movement from A. Marcello’s oboe concerto. Bach was a great copier of music often making it suitable for performance on the organ. This is a keyboard arrangement of an oboe concerto attributed to the Venetian composer A. Marcello although Bach understood it to be a work by Vivaldi. J.S.Bach’s arrangement dates from 1715. It is work that is can be performed on the piano, organ and harpsichord. Careful reading of the score is required because of the numerous accidentals and the rhythmic accuracy that is required to play this movement as notated. The eighth note chordal accompaniment is very helpful in assisting accurate positioning of the notes. Playing a slow movement in a sustained and controlled way is a challenge and requires a different intensity than playing a movement in a moderate tempo. The realisation or video plays back at a tempo of 63 eighth note (quaver) beats to the minute although a tempo range from 60 to 66 eighth (quaver) notes to the minute is appropriate for the movement. and the ornaments are written out in full so what you see in the score is exactly what you hear. The sheet music music available from the PlentyMusic website has the symbols for the ornaments in place which understandably gives the score more visual clarity. The ornament markings in the sheet music score can be cross referenced with the video score and obviously with other recordings of the work. Players may wish to review the use of ornaments in the light of their own listening and study. Ornaments need to played rhythmically with clarity and consistency. There are a number of different ornaments that feature in the score. The music editor suggests omitting the ornaments win the early stages of learning the movement. The ornamentation in the realisation reflects current performance practice. The movement ends with a Tierce de Picardy aka a Picardy third. This is essentially refers to the use of a major chord at the end of a piece in the minor key. Close

Third Movement: Presto from Concerto in D minor BWV 794 Piano

This is a keyboard arrangement of an oboe concerto attributed to the Venetian composer A. Marcello although Bach understood it to be a work by Vivaldi Show More...

This is a keyboard arrangement of an oboe concerto attributed to the Venetian composer A. Marcello although Bach understood it to be a work by Vivaldi. J.S.Bach’s arrangement dates from 1715.It is work that is performed on the piano, organ and harpsichord. The organ realisation of this the Third Movement: Presto plays back at 56 dotted quarter note beats to the minute and the repeat is not played. In the video score the ornaments are written out in full. Additional ornaments can be added at the performer’s discretion. The music editor suggests listening to available recordings of this work before making a judgement about possible additions that could be made.Bach’s arrangement is mostly written in two parts is an excellent piece for a pianist to consider playing on the organ.The realisation utilises an 8’ Principal from a sample set. In a performance the organist could explore an alternative registration on the repeats. Close

Adagio from Sonata in A minor Wq 70/4, H 85

Carl Philip Emanuel Bach 1714 - 1788 is an important figure in music history and a composer that links the baroque with the classical era. He was an i Show More...

Carl Philip Emanuel Bach 1714 - 1788 is an important figure in music history and a composer that links the baroque with the classical era. He was an important influence on F.J.Haydn and L. van Beethoven who both held J. S. Bach’s composing son in high regard. This particular period in music history is a fascinating one and C.P.E Bach’s music is deserving of more attention both from the performance point of view and the need for well researched modern editions of his most popular music. This particular movement is in the “empfindsamer Stil” or sensitive style that is a feature in much of C.P.E.Bach’s music and other north German composers of the mid 18th century. It is approach that focuses on the expression of emotion in an intimate musical style that could be described as being declamatory or one that utilises both drama and dialogue. Whilst a movement with appeal there will be quite a challenge getting the piece to a performance standard. A realisation score with the ornaments all written out is appended to the sheet music score so that keyboard players can make a thorough study of the ornamentation of this work. This is an often complex and contradictory area but understandable because this composition comes from a time of great change in music. Keyboard players should have a sense of an eighth note quaver beat whilst the video score plays back at a tempo of 58 quaver beats to the minute. C.P.E. Bach’s favourite keyboard instrument was the in fact the clavichord and he was not really known to be an organ virtuoso like his father. He composed relatively little for the organ but did write some sonatas music for the sister of Frederick II, the Great, Princess Anna Amalia of Prussia. This movement which is part of a three movement sonata was composed sometime around 1755. C.P.E. Bach was known as the “Berlin Bach” whilst he worked in Berlin and then the “Hamburg Bach” when he moved there to replace his godfather Telemann as Kapellmeister. This distinguished him from his brother J.C. Bach who was known as the “London Bach”. Close

Little Prelude in D BWV 936

A lovely piece by Bach to encourage legato playing.

Prelude in C arr. flute, clarinet in B flat & bass clarinet

An arrangement for flute, clarinet in Bb and bass clarinet of the Little Prelude BWV 936 originally composed for the keyboard.

Prelude in D minor (originally Cm) BWV 999 for solo keyboard

This is the prelude in C minor BWV 999 transcribed to the key of D minor. Right and left hand fingering is specified. The chordal element of this pie Show More...

This is the prelude in C minor BWV 999 transcribed to the key of D minor. Right and left hand fingering is specified. The chordal element of this piece relates well to the modern musical ear. The movement was popularised by Segovia's solo guitar playing although the origins of the movement are as a lute piece. This movement has to be rhythmically secure - it is tempting to play the movement too quickly or too methodically so choosing an appropriate tempo is quite a performance challenge.. Close

Prelude in D minor BWV 999 arr. two acoustic guitars

In this arrangement for two guitars with TAB charts to support the conventionally notated score the chordal element of this piece is well suited to th Show More...

In this arrangement for two guitars with TAB charts to support the conventionally notated score the chordal element of this piece is well suited to this instrument combination. The movement was popularised by Segovia's solo guitar playing although the origins of the movement are as a lute piece. This movement has to be rhythmically secure and choosing a correct tempo is quite a performance challenge. IT is very easy to start playing this piece either too quickly or two slowly. Close

Prelude in C minor BWV 999 for solo keyboard

This is the piano version of the prelude in the key of C minor although its origins are as a lute piece. Right and left hand fingering is specified an Show More...

This is the piano version of the prelude in the key of C minor although its origins are as a lute piece. Right and left hand fingering is specified and some score detail is given. The chordal element of this piece relates well to the modern musical ear whilst the movement was popularised by Segovia's solo guitar playing in the 1960's. This movement has to be rhythmically secure - it is very easy to play the movement either too quickly or too slowly and deciding on an appropriate tempo can be quite a performance challenge. Close

Minuet in G minor two part BWV App.115

In this two part version the ornaments have been written out in full above the symbols and also realised in the playback version. In baroque music per Show More...

In this two part version the ornaments have been written out in full above the symbols and also realised in the playback version. In baroque music performers often vary the ornaments in the repeat sections but this is not advised for this particilar movement. Close

Minuet in G minor BWV App.115 solo keyboard

In this version the ornaments have been written out in full above the symbols and also realised in the playback version. In baroque music performers o Show More...

In this version the ornaments have been written out in full above the symbols and also realised in the playback version. In baroque music performers often vary the ornaments in the repeat sections but this is not advised for this particilar movement. Close

Minuet in A minor BWV App.115 arr. electric & bass guitar

An arrangement for electric and bass guitar of this minuet from the Anna Magdalena Notebook transcribed to the key of A minor and like most dance musi Show More...

An arrangement for electric and bass guitar of this minuet from the Anna Magdalena Notebook transcribed to the key of A minor and like most dance music from this era in AB or binary form. The movement has a haunting quality and like so much of the music from the collection it is a great study piece for students and can be played by a combination of different instruments. Keep the eighth notes (quavers) as even as possible and a tempo of around 116 quarter note (crotchet) beats to the minute is suggested. Close

Minuet in G minor BWV App.115 arr. French horn & tuba

An arrangement for horn in F (French horn) and tuba of this minuet from the Anna Magdalena Notebook sounding in the key of G minor and like most danc Show More...

An arrangement for horn in F (French horn) and tuba of this minuet from the Anna Magdalena Notebook sounding in the key of G minor and like most dance music from this era in AB or binary form. The movement has a haunting quality and is often performed with the Minuet in G BWV App.114. Like so much of the music from the collection it is a great study piece for music students and can be played by a combination of different instruments. Keep the eighth notes (quavers) as even as possible and a tempo of around 116 quarter note (crotchet) beats to the minute is suggested. The horn in F part has been appropriately transposed to sound in the key of G minor. Close

Minuet in G minor arr. clarinet in B Flat & bass clarinet

An arrangement for clarinet in Bb and bass clarinet of this minuet from the Anna Magdalena Notebook sounding in the key of G minor and like most dance Show More...

An arrangement for clarinet in Bb and bass clarinet of this minuet from the Anna Magdalena Notebook sounding in the key of G minor and like most dance music from this era in AB or binary form. The movement has a haunting quality and is often performed with the Minuet in G BWV App.114. Like so much of the music from the collection it is a great study piece for music students and can be played by a combination of different instruments. Keep the eighth notes (quavers) as even as possible and a tempo of around 116 quarter note (crotchet) beats to the minute is suggested. Ornaments are written out in the sheet music score which is presented to the players with both parts able to be viewed. The ornaments in place offer a practical suggestion rather than being prescriptive but are probably best omitted until the piece is familiar. The clarinet in Bb plays the melody an octave lower than in the original version for keyboard. Accompaniments are in place enabling the clarinet and bass clarinet players to participate in duet playing as part of practice routines. They play at 116, 120 & 120 bpm and there is a count in featuring the sound of the wood block. Close

Minuet in G minor arr. alto & tenor saxophone

An arrangement for alto and tenor saxophone of this minuet from the Anna Magdalena Notebook in the key of G minor and like most dance music from this Show More...

An arrangement for alto and tenor saxophone of this minuet from the Anna Magdalena Notebook in the key of G minor and like most dance music from this era in AB or binary form. The movement has a haunting quality and is often performed with the Minuet in G BWV App.114. Like so much of the music from the collection it is a great study piece for music students and can be played by a combination of different instruments. Keep the eighth notes (quavers) as even as possible and a tempo of around 116 quarter note (crotchet) beats to the minute is suggested. Ornaments are written out in the sheet music score which is presented to the players with both parts able to be viewed. They are in place to offer a practical and musical solution. The alto saxophone plays the melody an octave lower than in the original version for keyboard. Accompaniments are in place enabling the alto and tenor saxophone players to participate in duet playing as part of practice routines. They play at 116, 120 & 120 bpm. The authorship of this minuet was only attributed to its true composer Christian Petzold in the 1970’s. It was included in the Bach family music collection Notebook for Anna Magdalena Bach and incorrectly attributed to J.S.Bach. As music was largely copied by hand in Bach’s time mistakes were often made with regard to the authorship of music. For researchers and musicologists this is very much an unending task. Close

Minuet in G minor BWV App. 115 arr. flute & cello

An arrangement for flute and violoncello of this Minuet from the Anna Magdalena Notebook in the key of G minor and like most dance music from this era Show More...

An arrangement for flute and violoncello of this Minuet from the Anna Magdalena Notebook in the key of G minor and like most dance music from this era in AB or binary form. The movement has a haunting quality and is often performed with the Minuet in G BWV App.114. Like so much of the music from the collection it is a great study piece for music students and can be played by a combination of different instruments. Keep the eighth notes (quavers) as even as possible and a tempo of around 116 quarter note (crotchet) beats to the minute is suggested. Close

Prelude in C arr for flute, clarinet in B Flat & bass clarinet

An arrangement for flute, clarinet in Bb and bass clarinet of this elegant piece with flowing lines that trancribes most effectively to this instrume Show More...

An arrangement for flute, clarinet in Bb and bass clarinet of this elegant piece with flowing lines that trancribes most effectively to this instrument combination. The realisations are played at a tempo of 60 half note (minim) beats to the bar. Close

Prelude in C arr for two B Flat trumpets & trombone

An arrangement for two Bb trumpets and trombone of this elegant piece with flowing lines that trancribes effectively to this instrument combination. T Show More...

An arrangement for two Bb trumpets and trombone of this elegant piece with flowing lines that trancribes effectively to this instrument combination. The realisations are played at a tempo of 60 half note (minim) beats to the bar.The trombone part may be played semi staccato to help separate the parts. Close

Prelude in D BWV 936 arr. violin, viola & cello

An arrangement for violin, viola and cello of this movement with flowing lines that transcribe very effectively to this instrument combination.The re Show More...

An arrangement for violin, viola and cello of this movement with flowing lines that transcribe very effectively to this instrument combination.The realisations are played at a tempo of 60 half note (minim) beats to the bar Close

Little Prelude in D BWV 936 piano | keyboard

The piano | keyboard version of this movement with the right and left hand fingering clearly specified. The realisations are played at a tempo of 60 h Show More...

The piano | keyboard version of this movement with the right and left hand fingering clearly specified. The realisations are played at a tempo of 60 half note (minim) beats to the bar which allows the flowing lines to be communicated. Aim to play the lines as evenly as possible although the left hand can either be played with a semi staccato. Close

Sleeper\'s Wake arr. flute & B Flat clarinet

A two part arrangement for flute and Bb clarinet of this appealing and familiar piece. This is music based on a chorale (hymn) tune that would have be Show More...

A two part arrangement for flute and Bb clarinet of this appealing and familiar piece. This is music based on a chorale (hymn) tune that would have been familiar to Bach's congregations. This is a shortened version of this movement familiarising players with its rhythmic figuration and bass line. The rhythmic shapes sound modern and not surprisingly the movement has been subject to being arranged by a number of contemporary performing groups in a variety of styles. Close

Sleeper’s Wake arr Bb clarinet and bassoon

A two part arrangement for clarinet and bassoon of this appealing and familiar piece. This is music based on a chorale (hymn) tune that would have bee Show More...

A two part arrangement for clarinet and bassoon of this appealing and familiar piece. This is music based on a chorale (hymn) tune that would have been familiar to Bach’s congregations. This is a shortened version of this movement familiarising players with its rhythmic figuration and bass line. The rhythmic shapes sound modern and not surprisingly the movement has been subject to being arranged by a number of contemporary performing groups in a variety of styles. Close

Sleeper\'s Wake arr. alto saxophone & tenor saxophone

This is music based on a chorale (hymn) tune that would have been familiar to Bach's congregations. Arranged for alto and tenor saxophone this is a sh Show More...

This is music based on a chorale (hymn) tune that would have been familiar to Bach's congregations. Arranged for alto and tenor saxophone this is a shortened two part version of this movement familiarising players with its rhythmic figuration and bass line. The rhythmic shapes sound modern and not surprisingly the movement has been subject to being arranged by a number of contemporary performing groups in a variety of styles. Close

Sleeper\'s Wake arr. B Flat trumpet & tuba

Arranged for Bb trumpet and trombone this is a shortened two part version of this movement familiarising players with its rhythmic figuration and bass Show More...

Arranged for Bb trumpet and trombone this is a shortened two part version of this movement familiarising players with its rhythmic figuration and bass line. This is music based on a chorale (hymn) tune that would have been familiar to Bach's congregations. The rhythmic shapes sound modern and not surprisingly the movement has been subject to being arranged by a number of contemporary performing groups in a variety of styles. Close

Prelude in D minor BWV 926 arr. violin & violoncello

An arrangement for violin and cello of this dignified movement with an outline chord shape that needs to be clearly articulated. This is supported by Show More...

An arrangement for violin and cello of this dignified movement with an outline chord shape that needs to be clearly articulated. This is supported by the contrasting and well defined bass line which has a toccata / cadenza section near the end. Close

Prelude in D minor BWV 926 arr. mandolin & acoustic guitar

An arrangement for mandolin and acoustic guitar of this dignified movement with an outline chord shape that needs to be clearly articulated. It is su Show More...

An arrangement for mandolin and acoustic guitar of this dignified movement with an outline chord shape that needs to be clearly articulated. It is supported by a contrasting and well defined bass line that has a toccata / cadenza like section near the end. The parts are presented in both staff and tab format and players can refer to the piano copy to see and hear how the ornaments should be played. The conventionally notated score should be understood as being the reference score.The TAB charts whilst useful are not perfect in that if two notes are sounding on the same string they will need some re-interpretation and clarification. The conventionally notated score should be understood as being the reference score. Close

Prelude in D minor BWV 926 arr. two acoustic guitars

An arrangement for two acoustic guitars of this dignified movement with an outline chord shape that needs to be clearly articulated. It is supported Show More...

An arrangement for two acoustic guitars of this dignified movement with an outline chord shape that needs to be clearly articulated. It is supported by a contrasting and well defined bass line that has a toccata / cadenza like section near the end. The parts are presented in conventional staff notation and as TAB charts and players can refer to the piano copy to see and hear how the ornaments should be played. The TAB charts whilst useful are not perfect in that if two notes are sounding on the same string they will need some re-interpretation and clarification. The conventionally notated score should be understood as being the reference score. Close

Prelude in D minor for solo keyboard BWV 926

A piano / keyboard version of this dignified movement with an outline chord shape that needs to be clearly articulated supported by a contrasting and Show More...

A piano / keyboard version of this dignified movement with an outline chord shape that needs to be clearly articulated supported by a contrasting and well defined bass line. It has a toccata / cadenza like section near the end. The ornaments have been written out and are realised on the mp3 playback. Close

Jesu, Joy arr. for tenor recorder & acoustic guitar

Jesu, Joy arr for tenor recorder & acoustic guitar This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (h Show More...

Jesu, Joy arr for tenor recorder & acoustic guitar This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for tenor recorder (with an optional second tenor recorder) and acoustic guitar. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and provides very good opportunities to develop ensemble playing. Bach's music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Close

Jesu, Joy in Eight (with apologies to JSB)

Much can be learnt from music of the past in the playing sense and Jesu, Joy in 8 is an excellent example. This a shortened version of J.S. Bach’s Show More...

Much can be learnt from music of the past in the playing sense and Jesu, Joy in 8 is an excellent example. This a shortened version of J.S. Bach’s “Jesu, Joy of man’s desiring” presented as a piano solo in a 2/3 part texture but referencing in the rhythmic sense a popular music idiom that originates from the recent rock music idiom. The 8/8 rhythmic pattern with rhythmic division being 3+3+2 is very much a 20th century popular music invention but can be both learnt and applied beautifully with Bach’s Jesu, Joy. Keyboard players need to play with a legato touch and follow the suggested editorial detail presented in the score. Making music easy is one of PlentyMusic’s principles and the suggestion is that you can learn music from the past is one that needs to be appreciated by all musicians. In the pdf download a plain score is appended to the edited music score. J.S. Bach was not only a great composer and musician but probably one of the best teachers ever producing along with other members of his family and friends some of the finest collections of music for teaching purposes that could ever be imagined. Amongst J.S.Bach’s family there were 4 composing sons all writing music that linked the baroque with the classical period in music history. Close

Jesu, Joy arr in 7/8

A rhythmic variant of this familiar movement in 7/8 time which could be readily adapted and played by several different instrument combinations. Bach' Show More...

A rhythmic variant of this familiar movement in 7/8 time which could be readily adapted and played by several different instrument combinations. Bach's music readily invites reinvention of this kind and playing music with asymmetrical rhythms is excellent preparation for playing music in other idioms. Close

Jesu, Joy arr. for flute, acoustic guitar & violoncello

Jesu, Joy arr for flute, guitar & violoncello This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) Show More...

Jesu, Joy arr for flute, guitar & violoncello This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for flute, acoustic guitar playing chords and cello. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and provides very good opportunities to develop ensemble playing. Bach's music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. The music editor suggests that the tempo of the realisation is a little on the fast side. Close

Jesu, Joy arr. for tenor & bass recorder

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for tenor (with an optional se Show More...

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for tenor (with an optional second tenor recorder) and bass recorder. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and provides very good opportunities to develop ensemble playing. Bach' music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Close

Jesu, Joy arr. violin & violoncello

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for violin and cello. There is Show More...

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for violin and cello. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and provides very good opportunities to develop ensemble playing. Bach's music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Close

Jesu Joy in 8 arr. flute & bassoon

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for flute and bassoon. Ther Show More...

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for flute and bassoon. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 8/8 time and needs to be played with an awareness of the 3+3+2 pattern that underlies the rhythmic template for the movement. This pattern is a shape used in much popular music of the rock and roll era giving a contemporary feel to the music as we llas providing a very good opportunity to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. This score was upgraded in early 2026 with accompaniments added and instrument parts appended to the full score. Close

Jesu Joy in 8 arr. electric guitar & bass guitar

This is a simplified and shortened version of one of J.S.Bach’s famous pieces based on a chorale (hymn) melody arranged for electric guitar and bass Show More...

This is a simplified and shortened version of one of J.S.Bach’s famous pieces based on a chorale (hymn) melody arranged for electric guitar and bass guitar with both notated and tab parts. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This essentially two part version has been notated in 8/8 time. The grouping of the 8/8 time signature is 3+3+2 which is a rhythmic template used in much popular music of the 1950’s and 1960’s. Electric guitar & bass guitar accompaniments are also in place sounding at 102, 106, 110, and 114 quarter note (or crotchet) beats to the minute.The arrangement provides very good opportunities to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. This score was upgraded in early 2026 with accompaniments added and instrument parts appended to the full score. Close

Jesu, Joy arr. mandolin & acoustic guitar

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for mandolin and acoustic guit Show More...

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for mandolin and acoustic guitar with parts notated conventionally and in TAB charts. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and provides very good opportunities to develop both secure technique and musical fluency. Close

Jesu, Joy arr. 2 acoustic guitars

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for two acoustic guitars with Show More...

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for two acoustic guitars with both a notated score and a TAB chart. There is a strong bass line and this combined with the figuration gives the movement both character and appeal. This two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and provides very good opportunities to develop ensemble playing. Bach's music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Close

Jesu Joy arr. solo keyboard

A shortened version of this familiar piece arranged for for piano /keyboard with the right and left hand fingering clearly specified. This two part ve Show More...

A shortened version of this familiar piece arranged for for piano /keyboard with the right and left hand fingering clearly specified. This two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and needs to be played fluently with a legato touch. Close

Jesu, Joy arr. for solo keyboard

A shortened version of this familiar piece having the letter names of notes appearing in the noteheads and the right and left hand fingering clearly s Show More...

A shortened version of this familiar piece having the letter names of notes appearing in the noteheads and the right and left hand fingering clearly specified. This two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and needs to be played fluently with a legato touch. Close

Sleeper\'s Wake arr. trombone & tuba

A two part arrangement for trombone and tuba of this very attractive piece. This is music based on a chorale (hymn) tune that would have been familia Show More...

A two part arrangement for trombone and tuba of this very attractive piece. This is music based on a chorale (hymn) tune that would have been familiar to Bach's congregations. This is a shortened version of this movement familiarising players with its rhythmic figuration and bass line. The rhythmic shapes sound modern and not surprisingly the movement has been subject to being arranged by a number of contemporary performing groups in a variety of styles. Close

Sleeper’s Wake arr. guitar & bass guitar

An arrangement for acoustic or electric guitar and electric bass with tab. This is music based on a chorale (hymn) tune that would have been familiar Show More...

An arrangement for acoustic or electric guitar and electric bass with tab. This is music based on a chorale (hymn) tune that would have been familiar to Bach's congregations. This is a shortened two part version of this movement familiarising players with its rhythmic figuration and bass line. The rhythmic shapes sound modern and not surprisingly the movement has been subject to being arranged by a number of contemporary performing groups in a variety of styles. Close

Sleeper\'s Wake arr. for solo keyboard

A piano / keyboard arrangement of this movement with the right and left hand fingering clearly specified. This is music based on a chorale (hymn) tune Show More...

A piano / keyboard arrangement of this movement with the right and left hand fingering clearly specified. This is music based on a chorale (hymn) tune that would have been familiar to Bach's congregations. This is a shortened version of this movement familiarising players with its rhythmic figuration and bass line. The rhythmic shapes sound modern and not surprisingly the movement has been subject to an update by a number of contemporary performing groups in a variety of styles. Close

Sleeper\'s Wake arr for solo keyboard

A piano / keyboard arrangement of this movement with the letter names of the notes appearing in the noteheads and the right and left hand fingering cl Show More...

A piano / keyboard arrangement of this movement with the letter names of the notes appearing in the noteheads and the right and left hand fingering clearly specified. This is music based on a chorale (hymn) tune that would have been familiar to Bach's congregations. This is a shortened version of this movement familiarising players with its rhythmic figuration and bass line. The rhythmic shapes sound modern and not surprisingly the movement has been subject to an update by a number of contemporary performing groups in a variety of styles. Close

Minuet in B minor BWV 1067 arr. two acoustic guitars

An arrangement for two acoustic guitars of this familiar movement. One guitar plays the melody whilst the other accompanies with strummed chords. Both Show More...

An arrangement for two acoustic guitars of this familiar movement. One guitar plays the melody whilst the other accompanies with strummed chords. Both parts are supported with either TAB or chord shape graphics. The binary AB form minuet is from the Orchestral Suite in B minor BWV 1067. In the Minuet in B minor (Two Part) version players can see the ornaments written out to clarify how they should be played and this Two Part score is supported by an mp3 realisation. Close

Minuet in Bm BWV 1067 arr. for flute, guitar & bassoon

A three part version for flute, acoustic guitar playing chords and bassoon playing the bass line. The binary AB form minuet is from the Orchestral Sui Show More...

A three part version for flute, acoustic guitar playing chords and bassoon playing the bass line. The binary AB form minuet is from the Orchestral Suite in B minor BWV 1067. In the Minuet in B minor (Two Part) version players can see the ornaments written out to clarify how they should be played and this Two Part score is supported by an mp3 realisation. Close

Minuet in Bm arr for flute & acoustic guitar

In this version the flute plays the melody and the acoustic guitar with tab has the role of playing the bass line. There is a chord chart for an optio Show More...

In this version the flute plays the melody and the acoustic guitar with tab has the role of playing the bass line. There is a chord chart for an optional second guitar. In the Minuet in B minor (Two Part) version players can see the ornaments written out to clarify how they should be played and this Two Part score is similarly supported by an mp3 realisation. The binary AB form minuet is from the Orchestral Suite in B minor BWV 1067. Close

Minuet in B minor arr violin and cello

An arrangement for violin and cello of this familiar movement. The binary AB form minuet is from the Orchestral Suite in B minor BWV 1067. Players ma Show More...

An arrangement for violin and cello of this familiar movement. The binary AB form minuet is from the Orchestral Suite in B minor BWV 1067. Players may wish to refer to the Two Part score which has the ornaments written out to clarify how they should be played. There is also an mp3 realisation of the Two Part score. Close

Minuet in B minor (Two Part)

A two part version of this movement with no instruments specified. In this copy players are able to see the ornaments fully written out to clarify how Show More...

A two part version of this movement with no instruments specified. In this copy players are able to see the ornaments fully written out to clarify how they should be played. There is also an mp3 realisation of the score that can be downloaded. The binary AB form minuet is from the Orchestral Suite in B minor BWV 1067. Close

Minuet in Bm arr for flute, guitar & cello

A three part version for flute, acoustic guitar playing chords and cello playing the bass line. In the music of the baroque era the bass line is emph Show More...

A three part version for flute, acoustic guitar playing chords and cello playing the bass line. In the music of the baroque era the bass line is emphasised in the musical texture. The binary AB form minuet is from the Orchestral Suite in B minor BWV 1067. In the Minuet in B minor (Two Part) version players can see the ornaments written out to clarify how they should be played and this score is supported by an mp3 realisation which can be downloaded. Close

Minuet in B minor BWV 1067 arr. keyboard / piano

A two part solo keyboard version of this movement with the right and left hand fingering specified together with some additional score detail. One of Show More...

A two part solo keyboard version of this movement with the right and left hand fingering specified together with some additional score detail. One of Bach’s most beautiful melodies associated particularly with the flute repertoire. The binary AB form minuet is from the Orchestral Suite in B minor BWV 1067. Players may wish to refer to the Two Part score which has the ornaments written out to clarify how they should be played and listen to the mp3 realisation which can similarly be downloaded. Close

Invention 8 arr. trombone & tuba

J.S.Bach’s Invention 8 BWV 779 arranged for trombone and tuba. One of the most popular of the two part inventions with scale runs and chord shapes t Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for trombone and tuba. One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has individual parts appended to the full score. Accompaniments are also in place to help players improve their technique and ensemble skills. This is a 2023 update to a previous score. The realisation plays back at 88 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Trombone and tuba players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Music cannot be played quickly until it can be played slowly. The tuba part is fairly uncompromising and if some rescoring is required to make the part a little more playable please advise the PlentyMusic office. Ornaments are not generally featured in this movement whilst the realisation plays back at 88 quarter note or crotchet beats to the minute. Accompaniments are in place allowing trumpet and trombone players to participate in ensemble activities as part of practice routines. The trumpet sounds on one side of the stereo channel and the trombone on the other. The accompaniment tracks play back at 76, 80, 84, 88, 92 and 96 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. Close

Invention 8 arr. electric guitar & bass guitar

J.S.Bach’s Invention 8 BWV 779 arranged for electric & bass guitar. One of the most popular of the two part inventions with scale runs and chord sha Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for electric & bass guitar. One of the most popular of the two part inventions with scale runs and chord shapes to master. A sheet music score with both staff notation and TAB is available from the website. Accompaniments are also in place. This is an updated version of an earlier music score. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for guitarists to play to improve technique. There are some octave transpositions in the parts to keep to the range of the instruments. The guitar is an instrument where the same note can be played in different positions on the fretboard and whilst the TAB scores available maybe helpful in locating notes they do not provide the only solution. Acoustic instruments can be substituted for the electric. The realisation plays back at a reasonable 84 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Guitar players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Remember that music cannot be played quickly until it can be played slowly. The electric guitar and bass guitar are both transposing instruments and sound an octave lower than written enabling the space between the contrapuntal lines to be retained. There are some octave transpositions in the parts to keep to each instrument’s range. Scores are available in both staff notation and TAB. The TAB scores are limited in that they are literal translations of the notated score and guitar players may well wish to review some of the note positions suggested in these scores. Ornaments are not generally featured in this movement whilst the realisation plays back at 84 quarter note or crotchet beats to the minute. Accompaniments are in place allowing guitar and bass players to participate in ensemble activities as part of their practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 80, 84, 88, 92, 96, and for the very brave 100 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a two bar count in /click track for each of the accompaniment tracks. Again it is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format. Close

Invention 8 arr violin & cello

J.S.Bach’s Invention 8 BWV 779 arranged for violin and cello. One of the most popular of the two part inventions with scale runs and chord shapes to Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for violin and cello. One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has individual parts appended to the full score. Accompaniments are also in place. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for string players to play to improve technique The realisation plays back at 96 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. String players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Music cannot be played quickly until it can be played slowly. Ornaments are not generally featured in this movement whilst the realisation plays back at 96 quarter note or crotchet beats to the minute. Accompaniments are in place allowing violin and viola players to participate in ensemble activities as part of practice routines. The violin sounds on one side of the stereo channel and the viola on the other. The accompaniment tracks play back at, 84, 88, 92, 96, 100 and 104 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. This score was updated in 2023. Close

Invention 8 arr. violin & viola

J.S.Bach’s Invention 8 BWV 779 arranged for violin and viola. One of the most popular of the two part inventions with scale runs and chord shapes to Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for violin and viola. One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has pindividual parts appended to the full score. Accompaniments are also in place. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for guitarists to play to improve technique. There are some octave transpositions in the viola part to keep to the range of the instrument. The realisation plays back at 96 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. String players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Music cannot be played quickly until it can be played slowly. Ornaments are not generally featured in this movement whilst the realisation plays back at 96 quarter note or crotchet beats to the minute. Accompaniments are in place allowing violin and viola players to participate in ensemble activities as part of practice routines. The violin sounds on one side of the stereo channel and the viola on the other. The accompaniment tracks play back at, 84, 88, 92, 96, 100 and 104 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. Close

Invention No.8 in F arr. for clarinet in B flat & bassoon

Whilst conceived as solo keyboard pieces the Inventions work really well when played as an ensemble pieces and this arrangement is for clarinet and ba Show More...

Whilst conceived as solo keyboard pieces the Inventions work really well when played as an ensemble pieces and this arrangement is for clarinet and bassoon. This busy uplifting movement requires a good technique and level of musicianship to be played accurately at the recommended tempo of 96 quarter note (crotchet) beats to the minute. The realisation possibly is a little on the hurried side? Close

Invention No.8 in F arr. violin & bassoon

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for the unusual combin Show More...

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for the unusual combination of violin and bassoon. This busy uplifting movement requires a good technique and level of musicianship to be played accurately at the recommended tempo of 96 quarter note (crotchet) beats to the minute. The realisation possibly is a little on the hurried side? Close

Invention No.8 in F arr. for flute & violoncello

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for flute and cello. T Show More...

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for flute and cello. This busy uplifting movement requires a good technique and level of musicianship to be played accurately at the recommended tempo of 96 quarter note (crotchet) beats to the minute. The realisation possibly is a little on the hurried side? Close

Bourrée in Em arr. violin & cello

Arranged for violin and cello this bourrée shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is sugges Show More...

Arranged for violin and cello this bourrée shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The music in E minor originates from Bach’s Lute Suite No.1 BWV 996. The musical lines are of equal performance and technical difficulty and make it an ideal ensemble piece for a violin and cello duet. A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. Ornaments are in place and sound on the playback score. How they are to be played is shown on ossia staves in the music score. Accompaniments are in place sounding at 58, 60 and 62 half note or minim beats to the minute featuring both the violin and cello. Repeats are not in place in these accompaniments or in the realisation but should be considered as an option in performance. Close

Bourrée in Em BWV 996 arr. flute & bassoon

Bourrée in Em arranged for flute & bassoon This particular bourrée shouldn’t be played too quickly and in this arrangement for flute and bassoon a Show More...

Bourrée in Em arranged for flute & bassoon This particular bourrée shouldn’t be played too quickly and in this arrangement for flute and bassoon a tempo of around 60 half note (minim) beats to the minute is suggested. This, like much of Bach’s music, is a very adaptable movement suited to being played by several different combinations of instruments. The ornaments are played but the repeats are not in either the realisation or the accompaniments. A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. As in most of the movements that are found in a baroque suite it is composed in binary AB form. This movement is most familiar as a solo guitar movement although like much of Bach’s music it is readily adaptable to be played by other instrument combinations. Accompaniments are in place enabling both flute and bassoon players to practice as part of a duo in practice routines. There is a 4 bar count in sounded on a wood block. Close

Bourrée in Em BWV 996 arr. flute & acoustic guitar

In this arrangement for flute and acoustic guitar a tempo of around 60 half note (minim) beats to the minute is suggested. A bourrée is a dance ofte Show More...

In this arrangement for flute and acoustic guitar a tempo of around 60 half note (minim) beats to the minute is suggested. A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar with a moderate to fast tempo beginning with an upbeat on the last quarter note of the bar. This, like much of Bach's music, is a very adaptable movement suited to being played by several different combinations of instruments. The realisation is lacking in tonal contrast. Close

Bourrée in Em BWV 996 arr. descant & treble recorder

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar played at a moderate to fast tempo beginning wit Show More...

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar played at a moderate to fast tempo beginning with an upbeat on the last quarter note of the bar. In this arrangement for descant and treble recorder a tempo of around 60 half note (minim) beats to the minute is suggested. The musical lines are of equal performance and technical difficulty and make it an ideal ensemble piece for a recorder duet.The realisation is lacking in tonal contrast. Close

Bourrée in Em arr. electric guitar & bass guitar

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on Show More...

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. Arranged for electric guitar and electric bass with conventional notation and tab scores in place this particular this example shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The musical lines are of equal performance and technical difficulty and make it an ideal ensemble piece a guitar duo. Ornaments are in place and sound on the playback score. How they are to be played is shown on ossia staves in the music score. Accompaniments are in place sounding at 58, 60 and 62 half note or minim beats to the minute featuring both the electric guitar and bass guitar parts. Repeats are not played. Players have the choice of reading the music from the full score or the appended parts. The music originates from Bach’s Lute Suite BWV 996. An additional challenge is to play the movement in a swing style. Close

Bourrée in Em arr. acoustic guitar duet

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on Show More...

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. Arranged for an acoustic guitar duet with conventional notation and tab scores in place this particular this example shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. Ornaments are in place and sound on the playback score. How they are to be played is shown on ossia staves in the music score. Players have the choice of reading the music from the full score or the appended parts. Accompaniments are in place sounding at 58, 60 and 62 half note or minim beats to the minute featuring both acoustic guitar 1 and guitar 2 parts. Repeats are not played. Close

Bourrée in E minor BWV 996 arr. solo keyboard

A piano / keyboard arrangement with the right and left hand fingering clearly specified. This particular bourrée shouldn't be played too quickly an Show More...

A piano / keyboard arrangement with the right and left hand fingering clearly specified. This particular bourrée shouldn't be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. A bourrée is a dance for often found in the baroque suite having two half note (minim) beats to the bar, a moderate to fast tempo and begins with an upbeat on the last quarter note of the bar. The realisation is lacking in tonal contrast. Close

Bourrée in E minor for solo keyboard

A piano / keyboard arrangement of this dance movement with the letter names of the notes appearing in the noteheads and the right and left hand finger Show More...

A piano / keyboard arrangement of this dance movement with the letter names of the notes appearing in the noteheads and the right and left hand fingering clearly specified. This particular bourrée should not be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The musical lines are of equal performance and technical difficulty and for this reason this is an excellent training piece for the fingers. The repeats do sound in the realisation Close

Invention 8 arr. classical guitar duo

J.S.Bach’s Invention 8 BWV 779 arranged for classical guitar duo in the original key of F. One of the most popular of the two part inventions with s Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for classical guitar duo in the original key of F. One of the most popular of the two part inventions with scale runs and chord shapes to master. A sheet music score with both staff notation and TAB is available from the website. Accompaniments are also in place. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for guitarists to play to improve technique. There are some octave transpositions in the parts to keep to the range of the instruments. The guitar is an instrument where the same note can be played in different positions on the fretboard and whilst the TAB scores available maybe helpful in locating notes they do not provide the only option. The realisation plays back at 96 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Guitar players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Remember that music cannot be played quickly until it can be played slowly. The classical guitar is a transposing instrument and sounds an octave lower than written. The contrapuntal lines are an octave closer together than in the piano version. Ornaments are not generally featured in this movement whilst the realisation plays back at 84 quarter note or crotchet beats to the minute. Accompaniments are in place allowing guitar players to participate in ensemble activities as part of their practice routines. Classical Guitar 1 sounds on one side of the stereo channel and Classical Guitar 2 on the other. The accompaniment tracks play back at 76, 80, 84, 88, 92, 96, and for the brave 100 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. Again it is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format. Close

Invention 8 BWV 779 | piano

J.S.Bach’s Invention 8 BWV 779 in F is one of the most popular of the two part inventions and available as a free sheet music score from PlentyMusic Show More...

J.S.Bach’s Invention 8 BWV 779 in F is one of the most popular of the two part inventions and available as a free sheet music score from PlentyMusic. Cadential preparation is a strong feature and because is a relatively familiar keyboard work pianists will need to ensure that it has been well prepared before a performance. The realisation plays back at 96 quarter note or crotchet beats to the minute. Many play it faster and interestingly it is an invention without ornaments. Avoid playing the movement too loudly and keep a lightness in the hands. Remember that music cannot be played quickly until it can be played slowly. Keyboard players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Keyboard players will need to keep a lightness in the hands if they are to play the movement at tempo. Fingers will also need to be close to the keys. Fingering choices dependent on the direction in which the fingers and hands are moving also has a context with this particular invention. An uplifting and appealing invention giving keyboard players the opportunity to combine legato and detached or staccato playing. Keyboard players are in familar territory both with the harmonic outline or key journey and the compositional processes used This invention generally invites more of a consistent approach and vision which is suggested and supported by the recordings available. Again it is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. What is fascinating is to hear some of the greatest pianists and harpsichordists playing what really are considered to be learning pieces. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. A plain score is attached to the edited music score. Close

Invention No.4 in D minor arr. flute and acoustic guitar

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for flute and acoustic Show More...

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for flute and acoustic guitar with tab. A flowing and reflective movement which should be played at a tempo that gives the music an uplifting feel rather a plodding one. A tempo of 72 dotted eighth note beats (dotted quaver) to the minute is suggested. These pieces are excellent for developing secure performing technique and an understanding of compositional techique in the baroque era. Close

Invention 4 BWV 775 arr. violin & cello

Invention 4 BWV 775 arranged for violin and cello the key of D minor is an appealing work featuring an opening motif or melodic shape that combines a Show More...

Invention 4 BWV 775 arranged for violin and cello the key of D minor is an appealing work featuring an opening motif or melodic shape that combines a scale shape with the interval of a falling diminished seventh. The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written F natural but many alternate a F# with the E. In the video score, which string players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Accompaniments are in place allowing clarinet players to participate in an ensemble activity as part of practice routines. The violin sounds on one side of the stereo channel and Clarinet 2 on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual clarinet parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closley related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique and good intonation. This is a revision of an earlier score posted on the website. Close

Invention 4 arr. electric guitar & bass + TAB

J.S.Bach’s Invention 4 BWV 775 arr. electric guitar & bass guitar Both notated & TAB scores are available. In the key of D minor this is an appeal Show More...

J.S.Bach’s Invention 4 BWV 775 arr. electric guitar & bass guitar Both notated & TAB scores are available. In the key of D minor this is an appealing work featuring an opening motif or melodic shape that combines a scale shape with the interval of a falling diminished seventh. The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written F natural but many alternate a F# with the E. The ornaments can always be omitted particularly in the early stages of learning the movement. If In the video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. As the electric The TAB score Accompaniments are in place allowing electric guitar & bass players to participate in an ensemble activity as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual clarinet parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closley related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique. This is a revision and update of a previous score posted on the website. The music score was revised in 2023. B. Close

Invention No. 4 in Dm arr. for trombone and tuba

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for trombone and tuba. Show More...

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for trombone and tuba. A flowing and reflective movement which should be played at a tempo which gives the music an uplifting feel rather a plodding one. A tempo of 72 dotted eighth note beats (dotted quaver) to the minute is suggested. These pieces are excellent for developing secure performing technique and an understanding of compositional techique in the baroque era. Close

Invention No.4 in Dm arr. for violin & viola

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for violin and viola. Show More...

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for violin and viola. This flowing and reflective movement which should be played at a tempo which gives the music an uplifting feel rather a plodding one. A tempo of 72 dotted eighth note beats (dotted quaver) to the minute is suggested. These pieces are excellent for developing secure performing technique and an understanding of compositional techique. Close

Invention No.4 in D minor arr. for flute and violoncello

An arrangement for flute and cello of this Invention which is particular suited to this combination of instruments. A flowing and reflective movement Show More...

An arrangement for flute and cello of this Invention which is particular suited to this combination of instruments. A flowing and reflective movement which should be played at a tempo which gives the music an uplifting feel rather a plodding one. A tempo of 72 dotted eighth note beats (dotted quaver) to the minute is suggested. Close

Invention 4 arr. classical guitar duo + TAB

J.S.Bach’s Invention 4 BWV 775 arr. classical guitar duo with both notated & TAB scores available as pdf downloads from the PlentyMusic website. In Show More...

J.S.Bach’s Invention 4 BWV 775 arr. classical guitar duo with both notated & TAB scores available as pdf downloads from the PlentyMusic website. In the key of D minor this is an appealing work featuring an opening motif or melodic shape that combines a scale shape with the interval of a falling diminished seventh. The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written F natural but many alternate a F# with the E. The ornaments can always be omitted particularly in the early stages of learning the movement. Many guitarists edit the music score in how they play the ornaments finding it difficult to sustain the hammer technique for so long. Find a solution but do ensure that both parts and instruments are imitating each other. The voicing in this arrangement with the guitar 1 sounding an octave lower than written means that the contrapuntal lines are an octave closer together than in the original piano version. In the video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Accompaniments are in place allowing classical guitar duo players to participate in an ensemble activity as part of practice routines. Classical Guitar 1 sounds on one side of the stereo channel and Classical Guitar 2 on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual guitar parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closely related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique. This is a revision and update of a previous score posted on the website. Close

Invention 4 BWV 775

Invention 4 BWV 775 in D minor is an appealing work in the key of D minor and features an opening motif or melodic shape that combines stepwise moveme Show More...

Invention 4 BWV 775 in D minor is an appealing work in the key of D minor and features an opening motif or melodic shape that combines stepwise movement with the interval of a falling diminished seventh. The realisation plays back at 60 dotted quarter note or dotted crotchet beats to the minute. Playing the D minor scale in its harmonic and melodic forms would be excellent preparation for playing this invention. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests an F natural but many alternate an F# with the E In the video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. This is an invention where it is interesting to observe the different approaches to playing the movement. Many play the invention articulating the eighth note or quavers with a detached staccato while others play the movement with a legato touch. The former approach requires a lightness in the hands and can be a challenging because of the tension created especially if the movement is played at a fast tempo. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. What is fascinating is to hear some of the greatest pianists and harpsichordists playing what really are considered to be essential repertoire for players in their early years of playing a keyboard instrument. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The key journey that features in this movement embraces the closley related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. A plain score is appended to the edited music score. Close

Invention No.14 in Bb arr. for flute & violoncello

This, like much of Bach's music, is a very adaptable movement suited to being played by several different combinations of instruments. In this versio Show More...

This, like much of Bach's music, is a very adaptable movement suited to being played by several different combinations of instruments. In this version for flute and cello the playing needs to be even and balanced with a lightness about it to prevent the tempo dragging. A tempo of around 54 quarter note (crotchet) beats to the bar is suggested. Close

Invention No.14 arr violin & viola

J.S. Bach’s Invention 14 BWV 785 arranged for violin and viola duo in the original key of Bb is a rhythmical work and a movement in which figuration Show More...

J.S. Bach’s Invention 14 BWV 785 arranged for violin and viola duo in the original key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. Players need to have a vision and understanding of the phrasing needed before playing this movement. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 56 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. String players may well want to explore octave transpositions in those bars where the range of the instrument becomes a challenge - Bar 16 of the viola part for example. Please advise the Pln Accompaniments are in place allowing electric guitar and bass guitar players to participate in ensemble activities as part of practice routines. The violin sounds on one side of the stereo channel and the viola on the other. The accompaniment tracks play back at 52, 54, 59, 61 and 63 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. This score was reviewed and updated in 2023. Close

Invention No.14 in Bb arr. for clarinet in B Flat & bassoon

This, like much of Bach's music, is a very adaptable movement suited to being played by several different combinations of instruments. Arranged for c Show More...

This, like much of Bach's music, is a very adaptable movement suited to being played by several different combinations of instruments. Arranged for clarinet and bassoon the playing of the rhythmic figuration music will need to be even and balanced. A tempo of around 54 quarter note (crotchet) beats to the bar is suggested. Close

Invention No.14 arr. trombone & tuba duo

J.S. Bach’s Invention 14 BWV 785 arranged for trombone and tuba duo sounding in the original key of Bb. This is a challenging rhythmical work and a Show More...

J.S. Bach’s Invention 14 BWV 785 arranged for trombone and tuba duo sounding in the original key of Bb. This is a challenging rhythmical work and a movement in which figuration is a substitute for ornamentation. It is an excellent movement to improve ensemble playing and intonation requiring brass players to listen to each other. Players need to have a vision and understanding of the phrasing needed before playing this movement. The original right hand piano has been transposed down an octave whilst there are a few octave transpositions in the trombone 2 part keeping to the range of the instrument. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 52 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. Accompaniments are in place allowing trombone players to participate in ensemble activities as part of practice routines. Trombone 1 sounds on one side of the stereo channel and trombone 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56 and 59 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. This score was updated in 2023. Close

Invention No.14 arr. violin & cello

J.S. Bach’s Invention 14 BWV 785 arranged violin and cello in its original key of Bb is a rhythmical work and a movement in which figuration is a su Show More...

J.S. Bach’s Invention 14 BWV 785 arranged violin and cello in its original key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. Ornaments are omitted in this movement but are replaced by challenging and rhythmic figuration. Players need to have a vision and understanding of the phrasing needed before playing this movement. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 58 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. Accompaniments are in place allowing violin and cello guitar players to participate in ensemble activities as part of practice routines. The violin sounds on one side of the stereo channel and the cello on the other. The accompaniment tracks play back at 52, 54, 58, 60 and 62 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. This is a 2023 update to the previous score. Close

Invention No.14 in Bb arr. acoustic guitar & bass guitar

Arranged for acoustic/electric guitar and electric bass with tab the playing needs to be even and balanced. This, like much of Bach's music, is a very Show More...

Arranged for acoustic/electric guitar and electric bass with tab the playing needs to be even and balanced. This, like much of Bach's music, is a very adaptable movement suited to being played by several different combinations of instruments. A tempo of around 54 quarter note (crotchet) beats to the bar is suggested. Close

Invention 14 BWV 785 | piano keyboard

J.S. Bach’s Invention 14 in the key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation Bach played his Show More...

J.S. Bach’s Invention 14 in the key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation Bach played his music on mechanical instruments and for the modern player much can be learnt about playing by occasionally practicing on a silent keyboard. This could be a keyboard or even an organ which is a quite an appropriate instrument on which to play the Bach inventions. A lively movement which is excellent for improving strength in the weaker 4th and 5 fingers. Keyboard players will need to be aware of how the phrases are shaped and some of the leaps will need some attention. A lightness in the playing touch and hands is essential if the invention is to played at tempo without the hands becoming tense. Ornaments are omitted in this movement but make way for some exacting and rhythmic figuration. The realisation plays back at 60 quarter note or crotchet beats to the minute. There are different approaches to playing this invention and keyboard players should spend time listening to performances of the work on streaming media.. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. This is an important aspect of piano playing. A plain score is attached to the edited music score, Close

Invention No.13 in A min arr. trombone & tuba

Whilst conceived as solo keyboard pieces the Two Part Inventions work really well when played as ensemble pieces and this particular work can be playe Show More...

Whilst conceived as solo keyboard pieces the Two Part Inventions work really well when played as ensemble pieces and this particular work can be played successfully by a number of different instrument combinations. Whilst excellent training pieces the musical content does require players to have a secure and competent technique. Whilst the realisations have a tempo of 72 quarter note (crotchet) beats to the minute the movement can be performed at tempi both faster and slower than this. Close

Invention No.13 in A minor arr. violin and viola

The Two Part Inventions are excellent training pieces but do require players to have a good and secure technique if performance are to be convincing. Show More...

The Two Part Inventions are excellent training pieces but do require players to have a good and secure technique if performance are to be convincing. Whilst the realisations have a tempo of 72 quarter note (crotchet) beats to the minute the movement can be performed at tempi both faster and slower than this. Close

Invention No.13 in A minor arr. for violin & cello

The Two Part Inventions are excellent training pieces but do require players to have a good and secure technique if performance are to be convincing. Show More...

The Two Part Inventions are excellent training pieces but do require players to have a good and secure technique if performance are to be convincing. Whilst the realisations have a tempo of 72 quarter note (crotchet) beats to the minute the movement can be performed at tempi both faster and slower than this. Close

Invention 13 arr. electric guitar & bass guitar + TAB

J.S.Bach’s Invention 13 in the key of A minor is a movement with some quite delightful shapes to play particularly chord shapes including minor, maj Show More...

J.S.Bach’s Invention 13 in the key of A minor is a movement with some quite delightful shapes to play particularly chord shapes including minor, major, dominant 7th & diminished 7th also in their different positions (root, first & second inversion…) This is an excellent ensemble piece encouraging players to listen to each other. Acoustic instruments can be substituted for the electric ones. The electric guitar and bass guitar are both transposing instruments and sound an octave lower than written enabling the space between the contrapuntal lines to be retained. There are some octave transpositions in the bass guitar part to keep to the instrument’s range. Scores are available in both staff notation and TAB. The guitar is an instrument where the same note can be played in different positions and on different strings. The TAB scores are a literal translations of the notated score and guitar players may well wish to review some of the note positions suggested in these scores. Ornaments are not featured in this movement whilst the realisation plays back at 72 quarter note or crotchet beats to the minute. Accompaniments are in place allowing guitar and bass players to participate in ensemble activities as part of their practice routines. The guitar sounds on one side of the stereo channel and the bass on the other. The accompaniment tracks play back at 58, 60, 62, 64, 66, 68, 70 and 72 quarter note (crotchet) beats per minute. This reflects the fact that the invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a two bar count in /click track for each of the accompaniment tracks. As in all the inventions it is a requirement to play accurate note values. Ends of phrases are deserving of particular attention. Legato playing is suggested in the first instance although players can offer their own playing and performance approaches which in many ways is the invitation offered in this and many other Bach music collections. There is no perfectly correct way to play this music and there is the added challenge of being able to re-visit and play the music again. Time spent listening to this work on streaming media will be invaluable to players wishing to understand the different approaches that players have when performing this movement. The principle behind J.S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s Two Part Inventions as in most music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. As concentrated and concise movements the 15 Inventions played in an ensemble context present excellent challenges and there is simply not much other music that can better prepare players for this type of music activity. An invention suited to being played by a wide range of instruments possibly with a combination of instruments belonging to different instrument families – a mix and match approach is invited. The 2023 music score is a revision of the 2013 PlentyMusic score. Close

Invention No.13 BWV 784 arr. 2 acoustic guitars + TAB

An ideal ensemble piece for two acoustic guitars. The Two Part Inventions are excellent training pieces but do require a secure technique if performan Show More...

An ideal ensemble piece for two acoustic guitars. The Two Part Inventions are excellent training pieces but do require a secure technique if performances are to be musically convincing. Whilst the realisations have a tempo of 72 quarter note (crotchet) beats to the minute the movement can be performed at tempi both faster and slower than this. The scores are notated both conventionally and with TAB. Close

Invention 13 BWV 784 | Piano Keyboard

J.S.Bach’s Invention 13 is in the key of A minor and is a movement with some quite delightful shapes to play with the diminished 7th chord reference Show More...

J.S.Bach’s Invention 13 is in the key of A minor and is a movement with some quite delightful shapes to play with the diminished 7th chord referenced in some of the patterns. This invention can and is played in different ways particularly from the point of view of tempo. As in all the inventions it is a requirement to play accurate note values. Ends of phrases are deserving of particular attention. A legato touch is suggested and players will need consider how they approach phrasing the shapes of the music in a performance. Singing or humming through the lines quietly will help clarify to instrumentalists how the music is to be played. In the edited music score suggested fingering is in placed above the notes in the treble clef and below them in the bass clef. Often in this movement the suggested fingering is determined by the direction in which the music is moving. Keyboard players would be wise to spend time playing the opening bars several time before proceeding to playing the whole movement. Remember that there are often references and suggestions in the Bach invention scores that the intended instrument on which they were to be played had two manuals. Ornaments are not featured in this movement whilst the realisation plays back at 60 quarter note or crotchet beats to the minute. Time spent listening to this work on streaming media will be invaluable to players wishing to understand the different approaches that players have when performing this movement. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. This is an important aspect of piano playing but one that needs to be developed and nurtured and understood in terms of playing a wide repertoire of music. An invention suited to being played by a wide range of instrument combinations possibly in combining instruments belonging to different instrument families. A plain score is attached to the edited sheet music score. Close

Siciliano in Gm arr tr recorder, guitar & cello

An arrangement for treble recorder, acoustic guitar with tab and cello The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popul Show More...

An arrangement for treble recorder, acoustic guitar with tab and cello The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the baroque period featuring dotted rhythms to give it a lilting feel – that said it should not be played too slowly. This music has great beauty and gracefulness. Players can refer to the flute and piano version to see how the ornaments can be played. Close

Siciliano in G minor arr. for alto saxophone & piano

An arrangement of this movement for alto saxophone and piano. The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the Show More...

An arrangement of this movement for alto saxophone and piano. The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the baroque period featuring dotted rhythms to give it a lilting feelthat said this piece should not be played too slowly. This music has great beauty and gracefulness and the arrangement has the ornaments notated to clarify how they are to be played. Close

Siciliano in G minor arr. for tenor saxophone & piano

An arrangement of this movement for tenor saxophone and piano. The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the Show More...

An arrangement of this movement for tenor saxophone and piano. The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the baroque period featuring dotted rhythms to give it a lilting feel that said this piece should not be played too slowly. This music has great beauty and gracefulness and the arrangement has the ornaments notated to clarify how they are to be played. Close

Siciliano in G min arr. flute & piano

The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the baroque period featuring dotted rhythms to give it a lilting f Show More...

The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the baroque period featuring dotted rhythms to give it a lilting feel that said it should not be played too slowly. This music has great beauty and gracefulness and this arrangement for flute and piano has the ornaments notated to clarify how they can be played. Close

Siciliano in G minor arr. for flute, acoustic guitar & violoncello

An arrangement for the well balanced combination of flute, acoustic guitar with tab and cello The siciliano is a slow tempo movement in 6/8 and 12/8 Show More...

An arrangement for the well balanced combination of flute, acoustic guitar with tab and cello The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the baroque period featuring dotted rhythms to give it a lilting feel that said it should not be played too slowly. This music has great beauty and gracefulness. Players can refer to the flute and piano version to see how the ornaments are to be played. Close

Siciliano in G minor arr for solo keyboard

The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the baroque period featuring dotted rhythms to give it a lilting f Show More...

The siciliano is a slow tempo movement in 6/8 and 12/8 time particularly popular in the baroque period featuring dotted rhythms to give it a lilting feel - that said it shouldn't be played too slowly. In this piano solo arrangement the challenge is to satisfactorily communicate the melody within the context of the three part texture. Close

Polonaise in G minor arr for horn in F and bassoon

An arrangement for the unusual combination of horn in F (French horn) and bassoon of this characterful and rhythmic piece in binary(AB) form in the ke Show More...

An arrangement for the unusual combination of horn in F (French horn) and bassoon of this characterful and rhythmic piece in binary(AB) form in the key of G minor. The polonaise is a dance in three time of Polish origin template and the rhythmic motives featuring in this particlar example are very typical. A tempo of 110 quarter note (crotchet) beats to the minute is suggested. Close

Polonaise in G minor arr. flute and cello

An arrangement for flute and cello of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays Show More...

An arrangement for flute and cello of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Cello accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. The composer of this movement has not been identified in the music score found in the music collection Notebook for Anna Magdalena Bach. Close

Polonaise in Gm arr. flute & acoustic guitar

An arrangement for flute and acoustic guitar of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisat Show More...

An arrangement for flute and acoustic guitar of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Guitar accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. The composer of this movement has not been identified in the music score found in the music collection Notebook for Anna Magdalena Bach. Close

Polonaise in G minor arr. clarinet in B Flat & bassoon

An arrangement for clarinet in Bb and bassoon of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisa Show More...

An arrangement for clarinet in Bb and bassoon of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. The composer of this movement has not been identified in the music score found in the Notebook for Anna Magdalena Bach. This score and realisation was upgraded and accompaniments added in December 2025. Close

Polonaise in G minor arr. oboe & bassoon

An arrangement for oboe and bassoon of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays Show More...

An arrangement for oboe and bassoon of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. The composer of this movement has not been identified in a music score in the music collection Notebook for Anna Magdalena Bach. Close

Polonaise in G min arr. alto & tenor saxophone

An arrangement for alto and tenor saxophones of this characterful rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation Show More...

An arrangement for alto and tenor saxophones of this characterful rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. The composer of this movement has not been identified in a music score which is found in the music collection Notebook for Anna Magdalena Bach. This score and realisation upgraded and accompaniments added in December 2025. Close

Polonaise in G min. arr. clarinet in B flat & bass clarinet

An arrangement for clarinet and bass clarinet of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realis Show More...

An arrangement for clarinet and bass clarinet of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Accompaniments are in place playing at 106, 110 and 114 quarter note ( crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. The composer of this movement has not been identified in a music score in the music collection Notebook for Anna Magdalena Bach. Close

Polonaise in G minor arr for violin and cello

An arrangement for violin & cello of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays b Show More...

An arrangement for violin & cello of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. The composer of this movement has not been identified in the music score which is found in the Notebook for Anna Magdalena Bach. The score and realisation were upgraded and accompaniments added in December 2025. Close

Polonaise in G minor arr. two acoustic guitars

An arrangement for two acoustic guitars with both notated and TAB scores of this characterful and rhythmic piece in binary (AB) form in the key of G m Show More...

An arrangement for two acoustic guitars with both notated and TAB scores of this characterful and rhythmic piece in binary (AB) form in the key of G minor. An arrangement for two acoustic guitars with both notated and TAB scores of this characterful and rhythmic piece in binary (AB) form in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. There are no ornaments in place in this arrangement. The composer of this movement has not been identified in a music score which is found in the music collection Notebook for Anna Magdalena Bach. Close

Polonaise in G minor

The polonaise is a dance in three time of Polish origin and the rhythmic motives featuring in this particlar example are very typical. This version fo Show More...

The polonaise is a dance in three time of Polish origin and the rhythmic motives featuring in this particlar example are very typical. This version for piano / keyboard has the right hand and left hand fingering clearly specified. A tempo of 110 quarter note (crotchet) beats to the minute is suggested. The strong repetitive element gives the movement drive and urgency. This movement is found as Appendix 119 in the Anna Magdalena Notebook of 1725 and the composer is not identified. Close

Polonaise in G minor solo keyboard

The polonaise is a dance in three time of Polish origin and the rhythmic motives featuring in this particlar example are very typical - the repetitiv Show More...

The polonaise is a dance in three time of Polish origin and the rhythmic motives featuring in this particlar example are very typical - the repetitive elements help give the movement drive and urgency. This version for piano / keyboard has the right hand and left hand fingering clearly specified whilst a tempo of 110 quarter note (crotchet) beats to the minute is suggested. The strong repetitive element gives the movement drive and urgency. This movement is found as Appendix 119 in the Anna Magdalena Notebook of 1725 and the composer is not identified. Close

Polonaise in G minor solo keyboard

A characterful and rhythmic piece with strong repetitive elements. This version for piano / keyboard has the letter names of the notes in the note hea Show More...

A characterful and rhythmic piece with strong repetitive elements. This version for piano / keyboard has the letter names of the notes in the note heads and the right hand and left hand fingering clearly specified. The strong repetitive element gives the movement drive and urgency. This movement is found as Appendix 119 in the Anna Magdalena Notebook of 1725 and the composer is not identified. Close

Minuet in G minor BWV App. 115 arr. violin & cello

An arrangement for violin and cello of this familiar and beautiful minuet from the Anna Magdalena Notebook in the key of G minor and like most dance m Show More...

An arrangement for violin and cello of this familiar and beautiful minuet from the Anna Magdalena Notebook in the key of G minor and like most dance music from this era in AB or binary form. The movement has a haunting quality and is often performed with the Minuet in G BWV App.114. Like so much of the music from the collection it is a great study piece for music students and can be played by a combination of different instruments. Keep the eighth notes (quavers) as even as possible and a tempo of around 116 quarter note (crotchet) beats to the minute is suggested. Close

Minuet in A minor BWV App116 arr for electric & bass guitar

Arranged for electric guitar and electric bass players may well want to add drums to make the arrangement more complete. The music has been transcribe Show More...

Arranged for electric guitar and electric bass players may well want to add drums to make the arrangement more complete. The music has been transcribed into the key of A minor. Close

Minuet in A minor BWV App.115 arr. two guitars

Arranged for two acoustic guitars both parts are conventionally notated and have TAB charts. The haunting quality of the movement is well suited to t Show More...

Arranged for two acoustic guitars both parts are conventionally notated and have TAB charts. The haunting quality of the movement is well suited to this instrument combination. The music has been transposed from the original key of G minor. Close

Minuet in G minor BWV App. 115 solo keyboard

A haunting piece in the key of G minor often associated and played with the Minuet in G BWV App 114. The right hand and left hand fingering is clearly Show More...

A haunting piece in the key of G minor often associated and played with the Minuet in G BWV App 114. The right hand and left hand fingering is clearly specified. Avoid adding the ornamentation until the playing is secure. Close

Minuet in G minor BWV App. 115 solo keyboard

A haunting piece in the key of G minor often associated and played with the Minuet in G BWV App 114. This version has the letter names of the notes in Show More...

A haunting piece in the key of G minor often associated and played with the Minuet in G BWV App 114. This version has the letter names of the notes in the noteheads and the right hand and left hand fingering clearly specified. Close

March in D arr. oboe and bassoon

An arrangement for oboe and bassoon of this characterful and lively march written in cut time. A tempo of 72 half note or minim beats is used in the r Show More...

An arrangement for oboe and bassoon of this characterful and lively march written in cut time. A tempo of 72 half note or minim beats is used in the realisation and accompaniments are in place enabling both oboe and bassoon players to enjoy duet playing as part of practice routines. Close

March in D arr. flute and acoustic guitar

An arrangement for flute and acoustic guitar of this characterful and lively march by C.P.E.Bach. the guitar part is written in both conventional staf Show More...

An arrangement for flute and acoustic guitar of this characterful and lively march by C.P.E.Bach. the guitar part is written in both conventional staff notation and TAB. Close

March in D arr for flute and cello

An arrangement for flute and cello of this characterful and lively march by C.P.E.Bach. The playback tempo is 76 half note or minim bpm and the repeat Show More...

An arrangement for flute and cello of this characterful and lively march by C.P.E.Bach. The playback tempo is 76 half note or minim bpm and the repeats are in place in both the playback and the 4 accompaniments. The arrangement is in 2/2 cut time and the ornament in the flute part has been notated as it should be played on the ossia staff. Close

March arr. clarinet in B Flat & bass clarinet

An arrangement for clarinet in Bb and bass clarinet of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats Show More...

An arrangement for clarinet in Bb and bass clarinet of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the realisation and accompaniments are in place enabling both clarinet in Bb and bass clarinet players to enjoy duo playing as part of practice routines. Accompaniment tempos are 72, 76, 80 and 84 half note or minim beats to the minute and there is a 4 bar count in sounded on the wood block. Close

March in C arr. trumpet in B Flat and tuba

An arrangement for trumpet in Bb and tuba of this characterful and lively march written in cut time.

March in D arr. violin and cello

An arrangement for violin and cello of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the Show More...

An arrangement for violin and cello of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the realisation and accompaniments are in place enabling both violin and cello players to enjoy duo playing as part of practice routines. Accompaniment tempos are 72, 76, 80 and 84 half note or minim beats to the minute. Close

March in D arr. electric guitar and bass

An arrangement for electric guitar and bass guitar of this characterful and lively march written in cut time. A tempo of 84 half note or minim beats i Show More...

An arrangement for electric guitar and bass guitar of this characterful and lively march written in cut time. A tempo of 84 half note or minim beats is used in the realisation and accompaniments are in place enabling both the electric guitarist and bassist to enjoy duet playing as part of practice routines. Ornaments are probably best omitted when learning the piece. Repeats are not in place in the accompaniments but if they are required please advise the PlentyMusic office. Both notated and TAB scores are in place. Close

March in D solo keyboard

A lively and versatile though short piece by one of J.S. Bach's 4 composing sons. Competent playing of this music will require a secure playing techni Show More...

A lively and versatile though short piece by one of J.S. Bach's 4 composing sons. Competent playing of this music will require a secure playing technique and makes it an ideal performance piece. Typically a march is in 2/2 time and played briskly. The playback tempo in this score is 84 half note or minim beats to the minute. This March can be found in Bach’s family collection of music Anna Magdalena Bach Notebook which appeared in 1725. One of the challenges of the time was that music was frequently copied by hand and frequently it led to the wrong composer being identified as the source of a work. Editorial detail is in place for this short concise movement. All J.S Bach’s composing sons were taught by him and intestingly due to geography, age and different stylistic influences enjoyed different careers. The whole family is worthy of study not just the father. Close

March in D solo keyboard

C.P.E.Bach's lively march from the Anna Magdalena Notebook written in cut time. This version for keyboard has the letter names of the notes written in Show More...

C.P.E.Bach's lively march from the Anna Magdalena Notebook written in cut time. This version for keyboard has the letter names of the notes written in the note heads to assist in learning the note positions of the treble and bass staves. Close

Minuet arr. for flute and guitar

An arrangement for flute and guitar of this uplifting piece which features imitation in the writing and like many of Bach's short works composed in tw Show More...

An arrangement for flute and guitar of this uplifting piece which features imitation in the writing and like many of Bach's short works composed in two sections. This binary (AB) form dance form movement needs to be played fluently with all notes being clearly articulated. The guitar is part is notated in both the treble clef and TAB. Close

Minuet arr. for alto saxophone and piano

An arrangement for alto saxophone and piano of this uplifting piece which features imitation in the writing and like many of Bach’s short works Show More...

An arrangement for alto saxophone and piano of this uplifting piece which features imitation in the writing and like many of Bach’s short works composed in two sections. This binary (AB) form dance form movement needs to be played fluently with all notes being clearly articulated. Close

Minuet in G arr. for flute and cello

An arrangement for flute and cello of this uplifting piece which features imitation in the writing and like many of Bach's short works composed in two Show More...

An arrangement for flute and cello of this uplifting piece which features imitation in the writing and like many of Bach's short works composed in two sections. This binary (AB) form dance form movement needs to be played fluently with all notes being clearly articulated. Close

Minuet in G arr for violin and cello

An arrangement for violin and cello of this uplifting piece which features imitation in the writing and like many of Bach's short works composed in tw Show More...

An arrangement for violin and cello of this uplifting piece which features imitation in the writing and like many of Bach's short works composed in two sections. This binary (AB) form dance form movement needs to be played fluently and with all notes being clearly articulated. Close

Minuet in G arr. for two acoustic guitars BWV App.116

An arrangement for two guitars of this uplifting piece which features imitation in the writing and like many of Bach's short works composed in two sec Show More...

An arrangement for two guitars of this uplifting piece which features imitation in the writing and like many of Bach's short works composed in two sections. This binary (AB) form dance form movement needs to be played fluently and all notes need to be clearly articulated. TAB charts support the notated guitar parts. Close

Minuet in G keyboard / piano

An uplifting piece which features imitation in the writing and like many of Bach’s short works composed in two sections. This binary (AB) form dance Show More...

An uplifting piece which features imitation in the writing and like many of Bach’s short works composed in two sections. This binary (AB) form dance form movement needs to be played in a fluent legato style. This movement is also suited to being played by a combination of different instruments. Close

Minuet in G BWV App116 keyboard / piano

An uplifting piece which features imitation in the writing and like many of Bach’s short works composed in two sections. This binary (AB) form dance Show More...

An uplifting piece which features imitation in the writing and like many of Bach’s short works composed in two sections. This binary (AB) form dance form movement needs to be played in a fluent legato style. This version for keyboard has the letter names of the notes written in the note heads. Close

Minuet in D minor arr. flute & bassoon

An arrangement for flute and bassoon of this short piece in melancholy mood exploring the expressive key of D minor. A legato playing approach is advi Show More...

An arrangement for flute and bassoon of this short piece in melancholy mood exploring the expressive key of D minor. A legato playing approach is advised. Many pieces that appear in collections of Bach such as the "Anna Magdalena Notebook" have often been composed by some else. Close

Minuet in D minor BWV App.132 arr. flute & cello

An arrangement for flute and cello of this movement in D minor in melancholy mood from the Anna Magdalena Notebook. Aim to play in a legato style. Man Show More...

An arrangement for flute and cello of this movement in D minor in melancholy mood from the Anna Magdalena Notebook. Aim to play in a legato style. Many pieces that appear in collections of Bach such as the "Anna Magdalena Notebook" have often been composed by some else. Close

Minuet in D minor BWV App. 132 arr. trumpet in B Flat & trombone

An arrangement for trumpet and trombone of this melancholy piece attributed to J. S. Bach sounding in the very expressive key of D minor. A legato pl Show More...

An arrangement for trumpet and trombone of this melancholy piece attributed to J. S. Bach sounding in the very expressive key of D minor. A legato playing approach is advised. Much of the music that appears in collections by Bach such as the "Anna Magdalena Notebook"and attributed to him has often been composed by some else. Close

Minuet in D minor arr. violin & cello

An arrangement for violin and cello of this melancholy piece attributed to J.S.Bach in the very expressive key of D minor. Many pieces that appear in Show More...

An arrangement for violin and cello of this melancholy piece attributed to J.S.Bach in the very expressive key of D minor. Many pieces that appear in collections of Bach's music such as the "Anna Magdalena Notebook" have often been composed by some else. Close

Minuet in D minor arr. two acoustic guitars

An arrangement of the Minuet in D minor BWV App. 132 for guitar duet from the Anna Magdalena Notebook. The playback tempo of the realisation is 104 qu Show More...

An arrangement of the Minuet in D minor BWV App. 132 for guitar duet from the Anna Magdalena Notebook. The playback tempo of the realisation is 104 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the guitar 1 and guitar 2 parts whilst repeats are played. Both TAB and notated parts are available for this score. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was a collection containing music by J. S. Bach and several of his contemporaries. Close

Minuet in D minor BWV App.132 solo keyboard

A short piece in melancholy mood exploring the key of D minor. Aim to develop legato playing by keeping to the specified fingering. Much of the music Show More...

A short piece in melancholy mood exploring the key of D minor. Aim to develop legato playing by keeping to the specified fingering. Much of the music that appears in collections by Bach such as the "Anna Magdalena Bach Notebook"and attributed to him has often been composed by some else. Close

Minuet in D minor BWV App.132 two part

A short piece in melancholy mood exploring the key of D minor. This is a two part version without any specified instruments although the realisation i Show More...

A short piece in melancholy mood exploring the key of D minor. This is a two part version without any specified instruments although the realisation is played on the harpsichord. Close

Minuet in D minor BWV App.132 | solo keyboard

A beautiful melancholy movement suited to being played by a number of different instrument combinations. This version for keyboard has the letter name Show More...

A beautiful melancholy movement suited to being played by a number of different instrument combinations. This version for keyboard has the letter names of the notes written in the note heads. Whilst the music has been attributed to J.S.Bach the composer is unknown. Close

Musette in D BWV App.126 arr. violin & cello

An arrangement for violin and cello of this lively rhythmic movement. Notes need to be clearly articulated and there are some quite challenging rhyth Show More...

An arrangement for violin and cello of this lively rhythmic movement. Notes need to be clearly articulated and there are some quite challenging rhythms to communicate in the middle section. Close

Musette BWV App.126 arr. trumpet in B Flat and tuba

An arrangement for trumpet in Bb and tuba of this lively rhythmic movement. Notes need to be clearly articulated and there are some quite challengin Show More...

An arrangement for trumpet in Bb and tuba of this lively rhythmic movement. Notes need to be clearly articulated and there are some quite challenging rhythms to communicate in the middle section. Close

Musette in D BWV App.126 arr. flute & violoncello

An arrangement for flute and cello of this lively rhythmic movement. Notes need to be clearly articulated and there are some quite challenging rhythm Show More...

An arrangement for flute and cello of this lively rhythmic movement. Notes need to be clearly articulated and there are some quite challenging rhythms to communicate in the middle section. Close

Musette BWV App.126 arr. clarinet in B Flat & bassoon

An arrangement for clarinet in Bb and bassoon of this lively rhythmic movement. Notes need to be clearly articulated and there are some quite challen Show More...

An arrangement for clarinet in Bb and bassoon of this lively rhythmic movement. Notes need to be clearly articulated and there are some quite challenging rhythms to communicate in the middle section. Close

Musette in D BWV App.126 arr. for two acoustic guitars

A lively piece with strong repetitive elements, ideal for duet playing. Notes need to be clearly articulated and the ostinato/drone accompaniment allo Show More...

A lively piece with strong repetitive elements, ideal for duet playing. Notes need to be clearly articulated and the ostinato/drone accompaniment allows flexibility in the stylistic interpretation. This arrangement of this rhythmical piece is for two guitars with dropped down tuning and there are supporting TAB charts. Close

Musette in D BWV App.126 piano / keyboard

A lively piece with strong repetitive elements. Notes need to be clearly articulated and there are some quite challenging rhythms to learn in the midd Show More...

A lively piece with strong repetitive elements. Notes need to be clearly articulated and there are some quite challenging rhythms to learn in the middle section. There is also some suggested fingering. Close

Musette in D for piano / keyboard BWV App.126

A lively piece with strong repetitive elements. This version has the letter names of the notes written in the note heads to encourage the learning of Show More...

A lively piece with strong repetitive elements. This version has the letter names of the notes written in the note heads to encourage the learning of the position of notes in the treble and bass staves. Close

Minuet in G BWV App. 114 arr. for oboe & bassoon;

An arrangement of this familiar movement for oboe and bassoon .

Minuet in G melody and chords

A melody and chord chart of this familiar melody which could quite easily be played as a duet. No instruments have been specified so that it could be Show More...

A melody and chord chart of this familiar melody which could quite easily be played as a duet. No instruments have been specified so that it could be played by any melody instrument accompanied by chords possibly played on the keyboard or guitar. Close

Minuet in G BWV App.114 arr for guitar

A melody and chord arrangement of this familiar melody which could quite easily be played as a duet. Arranged for the beginner this resource has lette Show More...

A melody and chord arrangement of this familiar melody which could quite easily be played as a duet. Arranged for the beginner this resource has letter names of notes written in the note heads and a guitar chord chart to support the melody. Close

Minuet in G BWV App.114 arr. for two acoustic guitars

A melody and chord arrangement of this familiar melody attributed to J.S.Bach which could quite easily be played as a duet. There is TAB chart to sup Show More...

A melody and chord arrangement of this familiar melody attributed to J.S.Bach which could quite easily be played as a duet. There is TAB chart to support the melodic notation and guitar chords symbols. Close

Minuet in G BWV App.114 keyboard or piano

This version of the familiar Minuet attributed to J.S.Bach has the letter names of the notes written in the note heads to encourage music reading and Show More...

This version of the familiar Minuet attributed to J.S.Bach has the letter names of the notes written in the note heads to encourage music reading and both hands together playing. Close

Minuet in G BWV App.114 keyboard or piano

The keyboard version of this familiar Baroque piece once attributed to J.S.Bach and found in the Anna Magdalena Notebook. This is an edited music scor Show More...

The keyboard version of this familiar Baroque piece once attributed to J.S.Bach and found in the Anna Magdalena Notebook. This is an edited music score with suggested fingering. Close

Minuet in G arr. for violin and cello

An arrangement of this familiar movement for violin and cello.

Minuet in G BWV App.114 arr. for flute and bassoon

An arrangement of this familiar movement once attributed to J.S.Bach for flute and bassoon

Minuet in G BWV App.114 arr. flute & violoncello

This familiar Baroque melody once attributed to J.S.Bach arranged for flute and cello.

Minuet in G BWV App.114 arr. two guitars

An arrangement for two guitars also known as guitar duo of this familiar piece from the Anna Magdalena Notebook with TAB support.

Minuet in B flat BWV App.114 arr. for alto saxophone & electric guitar

This familiar Baroque melody arranged for electric guitar and alto saxophone and sounding in the key of Bb The guitar part also has a TAB chart.

March in D arr. two guitars

An arrangement for two acoustic guitars of this adaptable and lively movement requiring dropped down D tuning. Both parts are written in conventional Show More...

An arrangement for two acoustic guitars of this adaptable and lively movement requiring dropped down D tuning. Both parts are written in conventional staff nation and TAB. Close

Minuet in G BWV App.114 keyboard or piano

An excellent and appealing melody to play which will help develop essential and secure keyboard technique. Arranged for the beginner this resource has Show More...

An excellent and appealing melody to play which will help develop essential and secure keyboard technique. Arranged for the beginner this resource has a keyboard graphic to help the player learn about the layout of the keyboard with letter names of notes written above the note heads to help players to learn note positions on the treble stave Close

Minuet in G App. 114 keyboard or piano

An excellent and appealing melody to play which will help develop essential and secure keyboard technique. Arranged for the beginner this resource has Show More...

An excellent and appealing melody to play which will help develop essential and secure keyboard technique. Arranged for the beginner this resource has graphics to help the player with letter names of notes written in the notehead together with instructions to assist the player. Close

Prelude in C BWV 946 from The Well Tempered Clavier piano

Bach's famous Prelude from Book I of The Well Tempered Clavier. It is a beautiful chordal piece requiring some delicate right hand pedalling when pla Show More...

Bach's famous Prelude from Book I of The Well Tempered Clavier. It is a beautiful chordal piece requiring some delicate right hand pedalling when played on the piano. The score also has some suggested fingering. Close

Minuet in G BWV App.114

Bach's familiar melody arranged for guitar with a helpful TAB chart

Minuet in G BWV App.114

A melody and chord chart for this popular Bach melody in G with no instruments specified.