Tchaikovsky’s ChansonTriste arranged for organ with pedals now available as a download. The organ realisation plays back at 100 quarter note (crotch Show More...
Tchaikovsky’s ChansonTriste arranged for organ with pedals now available as a download. The organ realisation 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 (upwards) in the pedal bass part and just a small number of voicing changes to the inner parts.
One of Tchaikovsky’s most popular pieces composed in 1878 for piano this arrangement for organ with pedals is in the original key of G 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 G minor in both the harmonic and melodic forms would be excellent preparation for playing this intermediate level work.
There are almost hymn like characteristics in some of the chordal sections of this work reflecting the wonderful chordal writing of the composer’s vocal works. Whilst there are transpositions of his orchestral works for organ there are is no music specifically composed for organ. Close
Added: 1st February, 2025 08:02 AM |
Views : 73
Handel’s Let me cry (Lascia ch’io pianga ) from the opera Rinaldo in an intermediate level arrangement for organ and piano. The aria or song is ta Show More...
Handel’s Let me cry (Lascia ch’io pianga ) from the opera Rinaldo in an intermediate level arrangement for organ and piano. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar.
When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. Those who enjoy improvising can always record their work can send it as an mp3 to the PlentyMusic office for feedback. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score. This is music that is very appropriate music for a solemn processional in a social context context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor makes the observation that instrumental arrangements of a vocal piece are invariably played at a faster tempo. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close
Added: 5th June, 2022 16:06 PM |
Views : 1452
An intermediatelevel arrangement from PlentyMusic for classical guitar trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Fel Show More...
An intermediatelevel arrangement from PlentyMusic for classical guitar trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini transcribed to the key of A.
Giardini’s string trio’s music are beautifully crafted works and need to be re-discovered and played. The tempo marking in the sheet music score is Adagio whilst the video score plays back at 44 dotted quarter (crotchet) notes to the minute. Trills begin on the note and have been notated in full in the video score which can be viewed on our YouTube channel. This area of performance practice is one that encourages debate and if instrumentalists have an alternative please do send the PlentyMusic Office an mp3 recording of a performance or rehearsal or even a notated version.
The siciliana, siciliano or sicilienne is a slow dance with a lilting rhythm in three time which can be described as a slow jig and features quite strongly in baroque music and in many works since. Such music is often in the minor key, pastoral in character with dotted rhythms frequently prevailing. Its origins are possibly Sicilian because of its association with the Sicilian born Alessandro Scarlatti but more likely to the madrigals of the Italian renaissance.
Giardini’s music is familiar to those who sing hymns as the tune Moscow was composed by him. Giardini 1716 – 1796 Italian by birth, was a violinist and composer, who toured widely in Europe settling in England and becoming an orchestra leader of the Italian Opera in London and director of the orchestra at the London Pantheon. He worked closely with his friend and colleague J. C. Bach, familiarly referred to as the the London Bach. For a 15 year period from the mid 1750’s Giardini was considered to be one of the very best performing artists of his time.
As a composer his chamber music, particularly his string trios, are best known and his compositional style combines style galant with the classicism of J. C. Bach and the Mannheim school associated with Stamitz. This so called pre-classical period in music is a fascinating period to study because of the great diversity in music across the main cities of Europe. After leaving England in 1784 for Naples his career faltered due mainly to changes in secure financial circumstances. Close
Added: 11th March, 2022 08:03 AM |
Views : 1985
In this arrangement for organ from PlentyMusic Gounod’s melody is played on the pedals whilst the hands play Bach’s Prelude in C with the addition Show More...
In this arrangement for organ from PlentyMusic Gounod’s melody is played on the pedals whilst the hands play Bach’s Prelude in C with the additional bar (29) and a repeat of the first 4 bars. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. The challenge for the organist is to play the melody in a singing or legato style suggesting a secure pedal technique. The realisation plays back at 68 quarter note (crotchet) beats to the minute. The music editor also suggests that it might be appropriate to play the double dotted notes on the pedals in bars 10 and 12 as dotted notes particularly on slow tracker action instruments. For the pianist playing the organ this is probably the most suitable arrangement to learn and play. the accompaniment needs to be played in an even and as rhythmically controlled way as possible. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick up or anacrusis notes in the section from bar 23 to bar 28. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being suitable as concert music. As this movement is so familiar to the listening audience performers cannot afford to even go near a mistake rather than actually make one! Close
Added: 3rd December, 2021 13:12 PM |
Views : 1740
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This arrangement from PlentyMusic for organ is part Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This arrangement from PlentyMusic for organ is part of the “Encouraging pianists to become occasional organists” collection. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. The pedal notes which are intended to be added when the movement can be played on the manuals and are indicated (apart from the final Bb) in the bass clef with their stems pointing downwards. Whilst the melody and accompaniment does sound very on the ear and suggest that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. Once a section is played through once logic suggests that it will be easier to play when repeated although this does not always seem to be the case. Young musicians in particular need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments have been written out in the video score but are indicated with symbols in the sheet music scores available as pdf download from PlentyMusic. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of the short essentially ornamental notes can be added later. When a movement involves reducing the score, as is the case in this arrangement, it means that some aspects of the music score are omitted. It is worth studying the full vocal score which may clarify some of the challenges that need to be addressed by the arranger The approach for the keyboard player should be to keep the melody wherever possible and when appropriate rhythmically independent of the triplet figuration of the accompaniment. Close
Added: 2nd November, 2021 17:11 PM |
Views : 1927
This quiet slow movement in reflective mood is vocal in its style and reminiscent of Bach’s 4 part chorale writing although featuring chromatic harm Show More...
This quiet slow movement in reflective mood is vocal in its style and reminiscent of Bach’s 4 part chorale writing although featuring chromatic harmony associated with the romantic era. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The first section is essentially a 4 part chorale featuring romantic chromatic harmony from Schumann’s own time rather than the diatonic harmony of Bach’s time. The second middle section is presented as a fugal exposition whilst the final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. Schumann’s intention is to combine beauty of sound with a legato touch and it is important for organists to aim for the best legato possible in their playing. The realisation plays back at 60 quarter note beats to the minute with the tempo indication in the score marked as adagio. This is an absorbing and challenging movement to with a particular challenge being to communicate the imitation that is evident in the music score. The music editor suggests playing through the separate lines of the score to gain understanding of the compositional process and points of imitation. This is also a challenging movement from the music reading point of view because of the chromaticism and tied notes and playing at a slow tempo. In the organ realisation two organ sounds have been used. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. In the organ arrangement there is the possibility of adding an additional trill on the G# in bar 31. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce players to chamber music playing. It is quite understandable that other composers and arrangers have re-visited the Studies in Canon by Schumann, in a practical way, with arrangements for various instrument combinations. These arrangements encourage a clearer understanding of the contrapuntal aspects of the original composer’s writing. Explore the solo piano, piano duet, two piano and trio versions available on the PlentyMusic website. Close
Added: 13th April, 2021 06:04 AM |
Views : 2114
This is music worthy of attention and an excellent movement for a keyboard player keen to make progress. The music editor often plays it at weddings. Show More...
This is music worthy of attention and an excellent movement for a keyboard player keen to make progress. The music editor often plays it at weddings. The repeating section has been written out simply for clarity as far as reading the music is concerned. In some editions there is a repeat of the opening 12 bar section but in performance this does rather spoil the symmetry of the movement. The music is presented in a plain score format with minimal score detail. Rameau was a leading French composer of both opera and harpsichord music and also known as a music theorist publishing a Treatise on Harmony in 1722. His music was largely out of fashion by the end of the 18th but there is a renewed interest in his music with recent performances and recordings. Interestingly he didn’t start composing opera until he was in his 50’s. He was one of the masters of 18th century French school of harpsichordists, publishing collections in 1706, 1724 and 1727. This particular movement comes from one of the suites from the 1724 collection. Whilst his keyboard music was intended for the harpsichord in more recent times it is frequently performed on the piano and there are transcriptions of movements available for the organ. The music editions available do generally relate to performances on the harpsichord and these generally have ornaments played in both hands which is something not so common in piano music. The rondeau is a form derived from early French poetry which was shared with the chanson (song form) in the medieval and Renaissance times. It features a repeating refrain (or chorus) and something in time that was adopted in both dance and instrumental forms. The form of this particular movement can be represented as ABACADA with A representing the repeating refrain or chorus. The fact that there are different numbers of bars in each of the phrases is most likely a connection to the poetry structure of earlier times. In the organ version which plays back at 96 dotted quarter notes to the minute the repeating refrain section is played on one manual whilst the sections described as episodes are played on a second manual or at least with a different registration. It is suggested that the pedal notes be played on a 16’ stop. Close
Added: 15th January, 2021 09:01 AM |
Views : 2200
In a performance context the Gigue en rondeau No.1 would be followed by Gigue en rondeau No.2. The two Gigue en rondeau from Rameau’s Suite in E min Show More...
In a performance context the Gigue en rondeau No.1 would be followed by Gigue en rondeau No.2. The two Gigue en rondeau from Rameau’s Suite in E minor from his 1724 collection are excellent movements for a keyboard player to explore. The repeating sections have been written out simply for clarity as far as reading the music is concerned. In some editions there is a repeat of the opening 8 bar section but in a performance this does rather spoils the symmetry of the movement. The music is presented in a plain score format with minimal score detail and ornamentation has been deliberately omitted. Rameau was a leading French composer of both opera and harpsichord music and also known as a music theorist publishing a Treatise on Harmony in 1722. His music was largely out of fashion by the end of the 18th but there is a renewed interest in his music with recent performances and recordings. Interestingly he didn’t start composing opera until he was in his 50’s. He was one of the masters of 18th century French school of harpsichordists, publishing collections in 1706, 1724 and 1727. Whilst his keyboard music was intended for the harpsichord in more recent times it is frequently performed on the piano and there are transcriptions of many movements available for the organ. The music editions available do generally relate to performances on the harpsichord and these generally have ornaments played in both hands which is not something so common in piano music. The rondeau is a form derived from early French poetry which was shared with the chanson (song form) in the medieval and Renaissance times. It features a repeating refrain (or chorus) and something in time that was adopted in both dance and instrumental forms. The form of this particular movement can be represented as ABACA with A representing the repeating refrain or chorus. The organ version plays back at 84 dotted quarter notes to the minute. Close
Added: 15th January, 2021 09:01 AM |
Views : 2288
The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso p Show More...
The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composers keyboard music and a bass line.
The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy whilst the piano trio arrangements of Kirchner offer excellent additional repertoire.When playing this music on the organ understand than it was composed for an instrument described as a pedal piano which had one keyboard with a pedal board. It was often used as a practice instrument by organists. It is possible to see one being played on YouTube. Close
Added: 30th December, 2020 14:12 PM |
Views : 2247
The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. The Show More...
The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. The voice leading particularly in the two top lines of the organ solo is often quite difficult to follow and that is why the piano duet version arranged by Bizet and the two piano version arranged by Debussy are well worth exploring. Schumann was quite an insecure individual both in himself and in his abilities as a composer. The reason for this is both can be understood by knowing that in that his original ambition was to be a pianist and secondly that a very overbearing father-in-law. There is added significance in the observation that this scond movement Opus 56 movement is 56 bars long. Schumann had an obsession with puzzles particularly mathematical ones. When playing this music on the organ understand than it was composed for an instrument described as a pedal piano which had one keyboard which was often used as a practice instrument by organists. Unsurprisingly, in music composed for this instrument with just one keyboard there is opportunity to share parts between the hands in some sections. The realisation plays back at 66 dotted quarter notes (crotchet) beats to the minute. From the music setting point of view this is quite a challenging piece particularly sorting out the two top voices which often are together in the same clef. For the player separating the voices by playing stems up for one voice and stems down for another offers clarity in understanding of the parts. Close
Added: 4th November, 2020 08:11 AM |
Views : 1931
A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in a work composed, at a time that Schumann was i Show More...
A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in a work composed, at a time that Schumann was intent on restoring rigour and confidence to his own compositional process. For players a secure and even technique is needed to play this relatively short movement. Whilst this music references the past there is a romantic twist or two in the harmonic language. A tempo of 76 quarter note (crotchet) beats to the minute is used in the organ realisation. Trills begin on the note and the pattern is shown in the ossia stave in bar 7 where the trill is notated. Understand that the melodic and rhythmic shapes of the ornaments need to be played consistently throughout the movement. The trills do not sound in the organ realisation. Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently arranged for piano duet / piano four hands by Georges Bizet. There are also other versions for solo piano, two pianos and string quartet. Close
Added: 2nd October, 2020 09:10 AM |
Views : 2192
The Keyboard Sonata in D minor K.417 is a Fuga and can be performed on either the harpsichord, organ or piano and is believed to date from 1754. It is Show More...
The Keyboard Sonata in D minor K.417 is a Fuga and can be performed on either the harpsichord, organ or piano and is believed to date from 1754. It is composed in a style that refences the past and the notation in long notes imitates the style of writing associated particularly with the polyphonic lines of church music. It has some beautiful soaring lines and is a great piece of music for both the player and listener. Domenico Scarlatti did not compose many fugues and whilst he worked in relative isolation his compositional approach anticipates and looks to the future rather than the past. His father, Alessandro was the one more inclined to compose fugues. The organ realisation plays back at 84 half note beats to the minute. Domenico Scarlatti although born in Italy spent most of his working life employed by the Royal Courts in Portugal and Spain working as a musician, composer and teacher particularly of members of the royal household. His contribution to the repertoire are his 550+ keyboard sonata most of which are very inventive pieces in AB binary form. Little of his music was published in his own lifetime. Close
Added: 7th September, 2020 09:09 AM |
Views : 3651
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
Added: 7th September, 2020 08:09 AM |
Views : 2935
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
Added: 7th September, 2020 07:09 AM |
Views : 2919
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
Added: 7th September, 2020 07:09 AM |
Views : 2989
There are recordings of this work played on the piano, organ and harpsichord of this fine 4 part fugue now attributed to Gottlieb Muffat. Gottlieb Muf Show More...
There are recordings of this work played on the piano, organ and harpsichord of this fine 4 part fugue now attributed to Gottlieb Muffat. Gottlieb Muffat (1690 – 1770) the son of George Muffat was a court organist and composer in Vienna becoming first organist on the accession of Maria Theresa to the throne in 1741. His compositional output mostly comprises keyboard music although much of it was not published. Toccatas, fugues, ricerare, canzonas and suites are to be found in his music collections and Handel often borrowed and reworked Muffat’s music. Muffat was a fine contrapuntist although a conservative approach is evident in his writing. This piece is often attributed to G. Frescobaldi. The chromatic element of this movement makes it a challenge to read and to complicate matters performances and sheet music copies of the music do vary in their detail. Players need to study the score carefully because at times the musical lines have conflicting accidentals. This is explained by the composer referencing the modes that originate in music from earlier times that createwhat are known as “false relations.” There is an arrangement by Bartok of this Fugue for piano although at the time ihe understood it to be a work by Frescobaldi. There need to be clarity in the articulation of the lines particular when the fugal entries are made. A tempo in the range 72 – 84 quarter note beats to the minute is suggested whilst in the realisation and video score play back at 80 quarter note beats to the minute. One of the challenges for the player is deciding which hand plays which notes in the middle voices. The music editor will upload an edited music score to the website in the future. Players also need to communicate an awareness of the musical texture in their playing. The trills begin on the note and modern performances often features additional ornaments although the music editor advises caution and consistency in their use. There are strong rhythmic motifs in the fugue and any ornamentation should not detract from the composer’s intention. There are performances that suggest that the performance practice for music of this period is not as secure as music from more well researched times. Another challenge for musicians is understanding the pitch element in the music of the period. The tuning fork was invented in 1711 and the suggestion is that the pitch standard during the Baroque period was roughly a semitone layer than modern standard pitch of A4 = 440Hz. A4 in the Baroque period was = 415Hz although pitch levels did vary around Europe. The chromatic element is a particular feature and there is a unifying downwards chromatic line that appears a number of times. Close
Added: 7th September, 2020 07:09 AM |
Views : 2831
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
Added: 7th September, 2020 07:09 AM |
Views : 2790
A very attractive piece for organ or harpsichord just 56 bars in length but featuring strong musical shapes that explores the full range of the organ Show More...
A very attractive piece for organ or harpsichord just 56 bars in length but featuring strong musical shapes that explores the full range of the organ manual. A tempo in the range 84 – 96 quarter note beats to the minute is suggested with the realisation playing back at 84 quarter note beats to the minute. The movement can be played on a one manual instrument with an 8 foot stop suggested as an appropriate registration. Imitation, the use of sequence and repetition are compositional processes that feature with the full range of the keyboard being explored. The descending musical shapes and motifs need to be clearly articulated particularly at the beginning of phrases. There are 12 ornaments indicated in the score. The upper mordent note /note above/note is used on short notes while the trill is in place on notes a quarter note (crotchet) in length. As the movement progresses the texture becomes more complex and ornaments become less evident in the score. The video score which can be viewed on the YouTube channel has all the ornaments written out whilst the sheet music score has symbols in place. Ornamentation in music performance is a complex topic and additional ornaments could be added at important cadence points. The music editor argues the case for clarity and simplicity suggesting that ornaments are added when the movement can be played competently. Note that rests in silent voices are used rather inconsistently. The music editor has found recordings of this music where it has been attributed to A. Scarlatti. As music was hand copied and often shared between teachers and pupils this is a frequent occurrence in music from these early times. Domenico Zipoli (1688-1726) was an Italian Baroque composer who lived and worked as a Jesuit priest in South America. Born in Prato, near Florence he studied with Alessandro Scarlatti and Bernardo Pasquini and in Rome produced in 1716 a collection of keyboard pieces titled Sonate d’intavolatura per organo e cimbalo which includes this particular canzona. This music is still highly regarded and playable by an intermediate level player. Close
Added: 27th August, 2020 08:08 AM |
Views : 3528
Although only 54 bars long the piece has great emotional and musical range making it a challenging performance piece. The melody needs to be played on Show More...
Although only 54 bars long the piece has great emotional and musical range making it a challenging performance piece. The melody needs to be played on the swell or choir manual and the accompaniment using a quiet registration on the great. The pedal part can also be coupled to the great. In any transcription or score reduction compromises have to be made. The repeating elements do add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which the organist will need to take into consideration in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing a controlled tone in solo playing. The off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry for the original song was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Close
Added: 17th August, 2020 12:08 PM |
Views : 1738
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
Added: 7th August, 2020 11:08 AM |
Views : 2511
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
Added: 30th July, 2020 07:07 AM |
Views : 3242
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
Added: 24th July, 2020 09:07 AM |
Views : 2860
A beautiful movement in 12/8 time from the baroque Italian composer who studied with A. Scarlatti and B. Pasquini before working as a priest in South Show More...
A beautiful movement in 12/8 time from the baroque Italian composer who studied with A. Scarlatti and B. Pasquini before working as a priest in South America.
A pastorale is an instrumental composition usually in moderate tempo which suggests and evokes the life of a shepherd. Usually in 6/8 9/8 or 12/8 time they often feature a drone accompaniment reminiscent of the bagpipes, an instrument very much associated with shepherds. The use of thirds is another common feature and they are often played at Christmas. There are many examples from the repertoire including those by Corelli, Vivaldi, Handel and more recently Pietro Yon.
The movement is in three sections. The first and last sections are in 12/8 and are played at 63 dotted quarter notes or crotchet beats to the minute. These two sections are 21 bar and 25 bars in length and are in similar character although the closing section is chromatic. The second section is 11 bars long and in common time and is played at 100 quarter note beats to the minute. Ornamentation is in place for the 11 bar middle section. For pianists playing the organ there is only one pedal note to play.
The arrangement is for a two manual instrument and there is clear indication in the sheet music score as to which music is played on which manual. The movement can however be played quite satisfactorily on a one manual instrument. On the sheet music score Manual 1 refers to the swell and Manual 2 refers to the great. Players may prefer to substitute these terms on their music scores.
In the instruments of Zipoli’s time changing the registration or choice of stops was effectively the only technique available to the organist to change the sound and volume. Modern instruments with swell pedals enabling the swell box to be opened and closed and change the volume were a much later invention. Three different registrations are suggested for playing the movement although only two are used in the realisation.
Domenico Ziploi (1688-1726) was an Italian Baroque composer who lived and worked as a Jesuit priest in South America. Born in Prato, near Florence he studied with Alessandro Scarlatti and Bernardo Pasquini and in Rome produced in 1716 a collection of keyboard pieces titled Sonate d’intavolatura per organo e cimbalo. This music is still highly regarded and playable by intermediate level. Close
Added: 14th July, 2020 11:07 AM |
Views : 1835
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. In this arrangement a tempo of 58 quarter note (crotchet) beats to the minute has been used in the realisation. Two registrations are suggested for the playing of the melody which is best played on a swell or choir manual. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the text for the song in translation to have an understanding of the music’s original context. As an organ piece this music is suited to being played on different occasions. Close
Added: 8th July, 2020 10:07 AM |
Views : 2683
The “Arrival of the Queen of Sheba” is a very popular piece and is often used as a wedding processional.
This shortened version has just 36 bars a Show More...
The “Arrival of the Queen of Sheba” is a very popular piece and is often used as a wedding processional.
This shortened version has just 36 bars and lasts for just over a minute which is often long enough for the purposes of most weddings. The sounding key of the organ arrangement is G major whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the minute. Three registrations are suggested and used in the realisation and are suggested for a performance. There is also a piano score attached to the organ score as the music can be quite satisfactorily played on the manuals. Playing the full version is quite a challenge because of the key changes which make closing off the music in the context of a wedding rather unpredictable and often not easy. The sinfonia was originally scored for two oboes and strings and comes from Act III of Handel’s oratorio “Solomon.” The title the was given to the Sinfonia by Sir Thomas Beecham possibly in the 1930’s. Close
Added: 30th June, 2020 10:06 AM |
Views : 3303
The First Movement from Baldassare Galuppi’s Organ Sonata in D minor is in AB binary form. For those who wish to have more information on how the or Show More...
The First Movement from Baldassare Galuppi’s Organ Sonata in D minor is in AB binary form. For those who wish to have more information on how the ornaments are played then the music editor suggests referring to the video sheet music score on YouTube where the ornaments are written out in full. As an organ piece the movement can be effectively played on a one manual instrument with possibly a choice of 8’ stops. This is music composed in the transition period between the baroque and classical periods.
The A section is just 10 bars long and essentially comprises has two contrasting musical ideas or strains a and b with each strain being 5 bars long. The section closes in the dominant key of A minor.
The B section is 20 bars long and opens with the same shape and strain as the first section but in A minor. Some new material is introduced at bar 16 and then after a few passing modulations the movement returns to the home key and opening strain of Section A at bar 23.
Baldassare Galuppi (1706 – 1785) was born on the Venetian island of Burano and whilst he worked in Vienna, London and St. Petersburg he was mostly based in Venice where he held a number of important musical positions. He is one of an important group of composers that link the baroque with the classical age and is identified particularly with the style galant movement. Close
Added: 25th June, 2020 08:06 AM |
Views : 2822
The uplifting third movement from Baldassare Galuppi's Organ Sonata in D minor has strong rhythmic shapes and harmonic sequences. The video score play Show More...
The uplifting third movement from Baldassare Galuppi's Organ Sonata in D minor has strong rhythmic shapes and harmonic sequences. The video score plays back at 60 dotted quarter note (crotchet) beats to the minute. A lightness in the registration is appropriate whilst the movement can be played the without repeats. There is a lovely exploration of space in this music with the rhythmic shapes being a strong feature of the musical content. Galuppi is one of an important group of composers that link the baroque with the classical age and is identified particularly with the “galant style” movement. Galuppi’s music is not particularly well represented by publishers and one of the reasons for this is because of Napoleon’s invasion of Venice in 1797. As a consequence of this many of the composers’ manuscripts misplaced and lost. Close
Added: 25th June, 2020 08:06 AM |
Views : 2735
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
Added: 24th June, 2020 20:06 PM |
Views : 3036
Duet No.3 BWV 804 in G major is an appealing work with a light, dance like character. It is an intermediate level performance piece reminiscent of the Show More...
Duet No.3 BWV 804 in G major is an appealing work with a light, dance like character. It is an intermediate level performance piece reminiscent of the composers Two Part Inventions. The Duet does present a number of score reading challenges for the player even though the music is conceived in two parts. 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 which may serve as a useful guide to how the movement is studied in the first instance. The music editors concept is that once familiarised with the movement that players will make use of the plain score perhaps substituting their own choice of fingering where they feel it is appropriate. The time signature is in 12/8 and the piano realisation plays back at a tempo of 60 dotted quarter note beats to the minute. There are many fine performances of this movement on several different types of keyboard instrument that are worth exploring. Close
Added: 13th June, 2020 12:06 PM |
Views : 2847
Duet No.3 BWV 804 in G major is an appealing work with a light, dance like character. It is an intermediate level performance piece reminiscent of the Show More...
Duet No.3 BWV 804 in G major is an appealing work with a light, dance like character. It is an intermediate level performance piece reminiscent of the composers Two Part Inventions. The Duet does present a number of score reading challenges for the player even though the music is conceived in two parts. 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 which may serve as a useful guide to how the movement is studied in the first instance. The music editors concept is that once familiarised with the movement that players will make use of the plain score perhaps substituting their own choice of fingering where they feel it is appropriate. The time signature is in 12/8 and the piano realisation plays back at a tempo of 60 dotted quarter note beats to the minute. There are many fine performances of this movement on several different types of keyboard instrument that are worth exploring. Close
Added: 13th June, 2020 11:06 AM |
Views : 2828
Froberger’s Canzona No.5 is a work performed on both the organ and harpsichord. It is composed in three section ABC each being independent of the ot Show More...
Froberger’s Canzona No.5 is a work performed on both the organ and harpsichord. It is composed in three section ABC each being independent of the other. The music is conceived in 4 lines and imitation is a featured compositional process. The realization plays back at 88 quarter note (crotchet) beats to the minute in the A section, 76 dotted quarter note (crotchet) beats to the minute in the B section and 80 quarter note (crotchet) beats to the minute in the final C section. When playing through the movement some thought does need to be given to the sharing of the lines between the two hands. There are moments in the score when there is tonal/modal ambiguity in the score. False relation is in evidence in the writing. This movement is evidence that the tonal system was not fully established and in place.
The thematic ideas in all three sections are of a lively and uplifting character. The tempo is much slower at the cadence points at the end of the three section. Cadence points also offer an opportunity for ornamentation that needs to be appropriate style. The music is conceived in 4 parts and where a part is not being sounded rests also indicated in the score. When played on a two manual organ the A+C section can be played on one manual and the B section on another. 8 ft stops would be an appropriate choice for the registration. Johann Jacob Froberger (1616 – 1667) was a German baroque composer, harpsichordist and organist particularly remembered for creating and developing the keyboard suite. The composer generally would not allow his music to be published so only his patrons and friends were familiar with his music. As recently as 2006 an autographed manuscript of his music was discovered. He was a pupil of Frescobaldi and spent time living and working in Vienna. Close
Added: 31st May, 2020 12:05 PM |
Views : 2732
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