An arrangement of this ragtime waltz for viola accompanied by piano in the key of G. A tempo of 110 quarter note (crotchet) beats to the minute is sug Show More...
An arrangement of this ragtime waltz for viola accompanied by piano in the key of G. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and used in the realisation. There are some syncopation challenges whilst piano accompaniments are in place. A viola part is appended to the full score. Close
Added: 14th February, 2026 08:02 AM |
Views : 136
A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passion Show More...
A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This arrangement for viola and acoustic guitar has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have contributed music to tarantella style and form. Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute. Traditionally as a folk dance the Tarantella would speed up towards the end in some kind of musical and emotional frenzy but this aspect of the music has not been explored in the arrangement. Close
Added: 13th February, 2026 16:02 PM |
Views : 173
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
Added: 12th February, 2026 14:02 PM |
Views : 176
This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for alto and tenor saxophon 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 alto and tenor saxophones. 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 and parts appropriately transposed are appended to the full score. Close
Added: 8th February, 2026 08:02 AM |
Views : 229
When The Saints Go Marching In arranged for cello, acoustic guitar and bass guitar in the key of D. The playback tempo is 100 half note or minim beat Show More...
When The Saints Go Marching In arranged for cello, acoustic guitar and bass guitar in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. Repeats are in place giving an opportunity possibly for some pizzicato playing on the cello. There is opportunity for players to explore the arrangement - the bass line played by the bass player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. Chords have also been indicated in the guitar score and there is a TAB score for the bass guitarist. Individual parts are also appended to the full score. The accompaniment mp3 features a string bass in the playback. Close
Added: 29th January, 2026 15:01 PM |
Views : 469
When The Saints Go Marching In arranged for cello and piano in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst t Show More...
When The Saints Go Marching In arranged for cello and piano in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A cello part is appended to the full score. Close
Added: 26th January, 2026 08:01 AM |
Views : 263
An arrangement for trombone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music Show More...
An arrangement for trombone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The sounding key is F and there are piano accompaniments in place to encourage ensemble playing. Close
Added: 21st January, 2026 09:01 AM |
Views : 321
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habaner Show More...
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular worldwide. This arrangement for trombone and piano is in the key of Bb. A tempo of 62 quarter note (crotchet) beats to the minute is used in the playback. The melody needs to be played with a legato touch whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Piano accompaniments are in place playing at 58, 60, 62 and 64 quarter note or crotchet beats to the minute. The lines of music are rhythmically independent and the left hand piano part should not end up being synchronized with the triplet figuration of the melody. There are many different versions of this piece and the triplet figuration provides challenges on how the music can be both notated and played. Popular rhythms particularly those derived from dance travelled very quickly around the globe in these times and the habanera pattern became an essential rhythmic feature of Argentinian tango music and is familiar from Bizet’s opera Carmen. If you are struggling to understand how to play cross rhythms have a look at one of the threes against two polyrhythms tutorials that are available on YouTube. This is an excellent movement in learning how to play and understand triplets. Close
Added: 20th January, 2026 16:01 PM |
Views : 324
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habaner Show More...
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular worldwide. This arrangement for 2 trombones is in the key of Bb. A tempo of 62 quarter note (crotchet) beats to the minute is suggested and used in the playback. The melody needs to be played with a legato touch whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Trombone 2 accompaniments are in place playing at 58, 60, 62 and 64 quarter note or crotchet beats to the minute. The lines of music are rhythmically independent and the trombone 2 should not end up being synchronized with the triplet figuration of the melody. There are many different versions of this piece and the triplet figuration provides challenges on how the music can be both notated and played. Popular rhythms particularly those derived from dance travelled very quickly around the globe in these times and the habanera pattern became an essential rhythmic feature of Argentinian tango music and is familiar from Bizet’s opera Carmen. If you are struggling to understand how to play cross rhythms have a look at one of the threes against two polyrhythms tutorials that are available on YouTube. This is an excellent movement in learning how to play and understand triplets. Close
Added: 20th January, 2026 16:01 PM |
Views : 322
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for viola and acoustic guitar is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. The viola player has the option of playing the repeat of the chorus at the octave. Close
Added: 19th January, 2026 16:01 PM |
Views : 337
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arra Show More...
This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arrangement for viola and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played & performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A viola part is appended to the full score whilst the player has the option of performing the repeat of the chorus at the octave. Close
Added: 19th January, 2026 15:01 PM |
Views : 326
When The Saints Go Marching In arranged for viola and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst t Show More...
When The Saints Go Marching In arranged for viola and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A viola part is appended to the full score and piano accompaniments are in place. REpeats are in place both in the realisation and the accompaniments. Close
Added: 19th January, 2026 12:01 PM |
Views : 263
An arrangement for viola with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music st Show More...
An arrangement for viola with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. Piano accompaniments are in place and the violist has the option of playing the repeat at the octave. Close
Added: 17th January, 2026 07:01 AM |
Views : 324
This is a very popular piece of music that in many respects transcends idiom, style & it could be suggested culture. This improver level arrangement f Show More...
This is a very popular piece of music that in many respects transcends idiom, style & it could be suggested culture. This improver level arrangement for saxophone quartet comprising 2 alto, tenor and baritone saxophones is in common time while some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary style. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. This arrangement explores a gentle rock style whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar. The full score includes a piano short score and individual parts for soprano, alto, tenor and baritone saxophone are appended to the full score. Accompaniments are in place enabling alto saxophone players to play solo melody indicated (ATB) Close
Added: 15th January, 2026 11:01 AM |
Views : 532
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
Added: 7th January, 2026 12:01 PM |
Views : 568
Raie Da Costa’s “At the Court of Old King Cole” arranged for clarinet in B flat with piano accompaniment.
Have fun playing this arrangement eith Show More...
Raie Da Costa’s “At the Court of Old King Cole” arranged for clarinet in B flat with piano accompaniment.
Have fun playing this arrangement either in a seasonal context or perhaps as a concert encore. The music originates is a piano solo from the 1930’s
There are recordings available on streaming media including a piano and orchestra arrangement.
Piano accompaniments are in place playing at 68, 70, 72,74 and 76 half note (minim) beats to the minute.
The melody line played by the clarinet for much of the time has a very straightforward part to play but no doubt this can expanded and embellished in the hands of a competent clarinettist.
Commentaries suggest that Raie Da Costa was a fine embellisher of the melody line and this is an option that can and possibly should be taken on board.
Loco is a term meaning play at the written octave after playing possibly at the octave in the section before.
Raie Da Costa was a classical trained musician well versed in the rules of counterpoint and harmony. Her music is simply a delight to arrange with its challenges of trying to manage exceptional musicality and technical challenges in the most musical and practical way as possible.
The melody has its origins in the nursery rhyme Old King Cole. In the poem the merry king calls for his pipe, bowl and musicians.
This shape dotted eighth note (quaver) followed by a sixteenth note (semiquaver) is played in a triplet swing pattern. The swing element is certainly and aspect of playing this score but does not dominate as in many of Raie Da Costa’s piano novelty pieces.
To make this playable even for two people there has to be a thinning out of notes and some changes to the texture and voicing of the tenths found in the left hand part of the piano score.
At the Court of Old King Cole has a playback tempo of 72 half note (minim) beats to the minute but it can be played faster.
There is generally not too much score detail in novelty piano scores though the music unfolds with plenty of figuration and twists and turns. The novelty pianist/composers had an excellent knowledge of chords, harmony and all the musical colouring that could be achieved with adjustments to the chord voicing.
Raie Da Costa (1905 – 1934) is very much identified with the novelty piano era in England alongside with other contemporary greats including Billy Mayerl (1902 – 1959)
Like Mayerl she was versatile both as a working musician and in her composing approach although as a young pianist her focus was very much on performing.
When giving concerts she would play novelty music together with popular classics from the repertoire.
She was born in Cape Town, South Africa of Portugese heritage arriving in England when she was 19 to study at the Tobias Matthay School with the intention of becoming a concert pianist.
A brilliant talent and pianist equally at home playing or composing whether in the classical or popular idiom. She also worked with orchestras.
Sadly because as a young performing pianist and artist her focus was on playing the piano where an income could be enjoyed so sadly composing was not a priority.
Thankfully she recorded much music from 1928 first with Parlophone and then later with HMV that provides evidence of her exceptional talents and gifts especially with regard to her left hand technique. Columbia had signed Billy Mayerl so there was healthy competition in the market.
Da Costa was known and billed to as “The Parlophone Girl – Dance Pianiste Supreme”and in the 1930’s as “The World’s Greatest Syncopated Pianist.”
At the Court of Old King Cole was published by Keith Prowse & Co. Ltd. in 1934.
The 1920’s were a great time for piano players with both jazz and novelty piano emerging as popular styles after the ragtime era.
Commentators of the time suggest that Raie Da Costa was versatile, charming and popular, a great embellisher of the melodic line and at the same time in possession a great left hand piano technique who also was known to sing!
Obviously so much that is written about her is conjecture but there is sheet music and recordings to evidence her great gifts. Close
Added: 28th October, 2025 11:10 AM |
Views : 1112
guitar & bass. If guitar and bass players require a TAB score please download the other version of this score.
Download the sheetmusic and an accompa Show More...
guitar & bass. If guitar and bass players require a TAB score please download the other version of this score.
Download the sheetmusic and an accompaniment or two by using the free credit given when signing up to PlentyMusic.
Swing style accompaniments featuring the acoustic guitar & bass are available playing at 94, 96, 98, 100, 102 & 104 quarter note (crotchet ) beats per minute giving the flautist opportunity to practice in an ensemble context as part of practice routines
Music leaders and music students should become familiar with the PlentyMusic integrated instrumental music teaching programme whereby a large number of instruments can share repertoire and practice strategies.
Individual instrument parts are appended to the full score. The music editor envisages a crossover approach when playing this arrangement possibly combining electric and acoustic instruments. Tchaikovsky composed many beautiful melodies and was a master of harmony often presenting music melancholy in mood.
PlentyMusic uses music software to produce pdf and mp3 resources that improve music practice routines. The PlentyMusic integrated instrument teaching programme provides a management structure and pathways to music performance.
The PlentyMusic classical sheet music realisation and sheet music video plays back at 100 quarter note (crotchet) beats to the minute. In a playing context a slower tempo can be considered.
In the arrangement there are a number of octave transpositions in the bass part. In the guitar part 4 notes for each chord generally sound in the realisation although the chord symbols in place may indicate/suggest more than 4 notes to be played. The chords suggested are generally in first position and there is some flexibility as to the number of notes that can be sounded. Chords are described referencing the bass note that is played although it may not be a note actually being played by the guitarist. For the guitarist and bass guitarist TAB scores are also in place. In the middle section the guitarist is required musical lines and so the chord notation has been omitted.
One of Tchaikovsky’s most popular pieces composed in 1878 for piano this arrangement for flute, guitar & bass is in the key of A minor. It is a ternary form ABA movement in a reflective melancholy mood.
It has a regular phrase structure and the melodic line needs to be played with a singing legato.
When performing the music be aware that tempo changes particularly at the end of phrases are appropriate. The music needs to be delivered with expression and a broad range of dynamics.
Playing the A minor scale in both the harmonic and melodic forms in a swing style would be excellent preparation for playing this intermediate level work. Close
Added: 8th February, 2025 08:02 AM |
Views : 4330
Frankie and Johnnie is an improver level piano solo exploring the 12 bar blues in a swing style requiring it to be played with a triplet feel. The con Show More...
Frankie and Johnnie is an improver level piano solo exploring the 12 bar blues in a swing style requiring it to be played with a triplet feel. The convention as far as notating swing rhythm can vary and be confusing. Listen to the realisation score and understand the conventions involved in the notation of the rhythmic shapes. The original text of the song is about jealousy and murder and likely to be in part true. There are hundreds of recordings of the song representing a great range of musical styles. The realisation plays back at 120 dotted quarter (crotchet) beats to the minute although the closing section is played at a slightly slower tempo. The music needs to be played in a relaxed manner and there is opportunity to explore the articulation of the melody notes. The best advice when playing this type of music is to essentially make a performance your own. Close
Added: 30th June, 2020 13:06 PM |
Views : 6209
It is intended to introduce keyboard players to “swing” playing. This slow blues has a simple two part texture. Whilst swing music has a triplet f Show More...
It is intended to introduce keyboard players to “swing” playing. This slow blues has a simple two part texture. Whilst swing music has a triplet feel to it players need to appreciate that the conventions involved in the notation of the rhythm of swing style can vary and be confusing. Listen to the playback score and understand the conventions involved in the writing of swing music by studying the score notated in common time and the appended score in 12/8. Appreciate that swing music can be notated in more than one way. The notation convention in the edited music score with suggested fingering is how this music would normally be presented to the music reading musician. The form of the 32 piece can be represented by the letters A A B A with each section being 8 bars long. Keyboard players should be aiming for fluidity in their playing. The realisation plays back at 110 dotted quarter (crotchet) beats to the minute.
As a warm up to playing the piece the music editor suggests playing through through the following blues upwards and downwards slowly simply to become familiar with the sound of each scale.
Eb major Eb F G Ab Bb C D Eb Eb blues Eb Gb Ab Bbb Bb Db Eb Eb minor Eb F Gb Ab Bb Cb D natural Eb
Instrument players interested in this style of music will need to become familiar with terms like blue note and blues turnaround and spend time listening to blues style piano players particular from the New Orleans area. Close
Added: 24th June, 2020 13:06 PM |
Views : 6322
When The Saints Go Marching In arranged for trombone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the min Show More...
When The Saints Go Marching In arranged for trombone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A trombone part is appended to the full score whilst piano accompaniments are in place. Close
Added: 13th August, 2019 16:08 PM |
Views : 3113
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement, sounding in Ab the clari Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement, sounding in Ab the clarinet in Bb part is transposed in both the full score and the appended solo part. The realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 68, 72, 76, and 80 quarter note (crotchet) beats to the minute. The repeats are not played in the accompaniments and there is a four bar count in at the beginning. Close
Added: 14th November, 2017 13:11 PM |
Views : 4230
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Show More...
A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. In the arrangements for solo instrument with piano accompaniment some voicing changes have been made to the piano part to aid clarity and musicianship. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music editors preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Piano accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute. There is a two bar introductory click track sounding on the woodblock before the movement begins. If players need a click track added for the cadenza at bars 48-49 please advise the PlentyMusic office. Close
Added: 27th July, 2017 11:07 AM |
Views : 3605
An arrangement of this ragtime waltz for trombone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and i Show More...
An arrangement of this ragtime waltz for trombone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. The sounding key is Eb and there are 3 piano accompaniments in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3574
“Elite Syncopations” is another well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how th Show More...
“Elite Syncopations” is another well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for clarinet in Bb accompanied by piano. The sounding key is Eb although the solo instrument part is appended to the full music score with the appropriate transposition. The same ragtime piece is often heard played at varying tempos but the best advice is not to play too fast. It does need to be played consistently and with simplicity even though some of the sections are technically quite challenging. Some of the repeat sections have the option of playing the melody up an octave but this may prove to be too challenging for some instrumentalists. This score reviewed in early 2026 with a realisation added in which the repeats are not played. Accompaniments have also been added playing at bpm. There is a 4 bar count in featuring the sound of the woodblock. Close
Added: 27th July, 2017 11:07 AM |
Views : 3714
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
Added: 27th July, 2017 11:07 AM |
Views : 3939
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
Added: 27th July, 2017 11:07 AM |
Views : 4787
