An arrangement for oboe and piano of a short characterful piece originally intended to be sung. The tempo of the realisation is 132 quarter note or (c Show More...
An arrangement for oboe and piano of a short characterful piece originally intended to be sung. The tempo of the realisation is 132 quarter note or (crotchet) bpm. Enrique Granados (1867 – 1916) was a Spanish nationalist composer born in Catalonia. While he composed art music there are many folk elements incorporated into his style as is the case with this short song or tonadilla. The small notes do not feature in the playback. This is an excellent performance piece giving opportunity to players to slow down at the end of phrases even to the point of exaggeration. Both the major and minor forms of the scale are also explored. An ideal piece as an encore. Piano accompaniments are also in place. This is the perfect piece to learn about the performing aspects of music where instrumentalists can explore the tonal and tempo aspects of their playing. The title roughly translates as "The Tralala and the Picking". Close
Music from the English pastoral tradition with strong references to the folk song tradition composed in a 6/8 time. Salix was originally a work compo Show More...
Music from the English pastoral tradition with strong references to the folk song tradition composed in a 6/8 time. Salix was originally a work composed for organ in 1937 becoming part of the Plymouth Suite which dates from 1939. In ABA form it is a beautifully crafted movement evidencing the excellent musical training in place in England in the composer's time. The repeat of the A section is a varied repeat. The chordal element is strong as are the musical lines which are woven into the musical texture. The word Salix references the Weeping Willow tree and the music has several modal references particularly evident at cadences. The music needs to be played with a legato touch. The arrangement for flute and piano keeps to the original key whilst piano accompaniments are in place playing at 30, 31, 32, 33 and 34 dotted quarter note (crotchet) beats to the minute. There are a number of octave transpositions in the flute part to keep within the instrument’s range. Percy Whitlock (1902 – 1946) was an English composer known for his contributions to the light music and church repertoires. He was both a civic and church organist and a railway enthusiast. He often used the pseudonym Kenneth Lark when writing. Sadly his life was cut short by TB. Close
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for cello and piano. The aria or Show More...
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for cello 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. Piano accompaniments are in place playing at 62, 64, 66 and 68 bpm enabling the cellist to enjoy ensemble music as part of their practice routines. 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 of other arrangement on our YouTube channel. This is music that is very appropriate music for a solemn processional or remembrance in a social context. It is usual to present baroque scores with minimal score detail. The music in the realisation plays back at a tempo of 66 half note or minim beats to the minute. This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players. 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
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for viola accompanied by acoustic guitar sounding in the key of G with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. This is an excellent performance piece because the melody is appealing and familiar. The viola player possibly has the option of playing the repeat at the octave although this is not indicated in the score. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 60, 63 and 66 dotted quarter note beats (crotchet) beats to the minute. Close
An arrangement for viola accompanied by acoustic guitar in the key of D of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Show More...
An arrangement for viola accompanied by acoustic guitar in the key of D of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase requiring a singing legato tone when performed. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. Whilst described as an improver level piece the guitar player’s part is obviously harder than the flute players. There are three guitar accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute. They feature the sound of a nylon strung guitar. The guitarist may need to re-voice one or two of the chords choices to manage the left hand stretches or possibly omit the odd note. Close
This music originates as an Italian art song dating from the 1780’s and is essential repertoire for classical music vocalists. Tommaso Giordani, hi Show More...
This music originates as an Italian art song dating from the 1780’s and is essential repertoire for classical music vocalists. Tommaso Giordani, his brother Giuseppe Giordani or perhaps even their father are considered to be responsible for its composition. Songs are excellent for instrumentalists to play with piano accompaniments because they encourage legato playing, the development of tone and secure performance skills In the PlentyMusic score download phrasing is in place although this can be reviewed. Some longer phrases may be possible if the breath control the brass player is in place. Trumpet players should be aiming for good intonation (playing in tune) in the first instance. Playing melodies from songs offer excellent material for instrumentalists to expanding the tonal aspects and quality of tone in their playing. A trumpet in B flat part appropriately transposed is appended to the full score in the pdf download. The music has been transposed to the key of C in this arrangement. Exaggerated playing needs to be avoided. There are opportunities to slow down the tempo at the end of phrases. Ornaments have been written out in full to add clarity to the sheet music score The realisation plays back at 66 quarter note (crotchet) beats to the minute. Piano accompaniments are in place playing at 64, 66, 68, 70 & 72 bpm The music editor has removed some of the accent signs in the accompaniment simply because they are not appropriate on a modern piano. The tempo indication in the score is Larghetto which translates to “slightly slow’ suggesting a speed somewhere between andante and adagio. As part of their music studies trumpet players would be well advised to listen to performances of Caro mio ben by both singers and instrumentalists Caro mio ben is described as an arietta which is a short simple song for solo voice. Arietta is a diminutive form of the term aria. Born in Naples Tommaso Giordani worked and lived in England and Dublin, Ireland. Giordani is identified with the galant style in music history which is one of several pre-classical music styles that emerged after the baroque. Close
An arrangement for flute and piano of Reynaldo Hahn’s beautiful melody “A Chloris.” This beautiful melody has its origins as a song and has bee Show More...
An arrangement for flute and piano of Reynaldo Hahn’s beautiful melody “A Chloris.” This beautiful melody has its origins as a song and has been transposed octave higher than set in the original music score. There has been some editing of the note values in the melodic line when considered appropriate whilst the step wise movement and figuration in the accompaniment suggest a composer embracing the past. Dating from 1916 it something of a pastiche on Baroque style with a bass line that clearly references Bach’s Air on a G String. The score detail is written in French. The soloist should be aiming for beauty of sound and in a performance both players needs to demonstrate a controlled and consistent approach. In the realisation the play back tempo is 30 half note beats a minute (bpm) At bar 10 the texture changes and the music editor suggests that possibly it is appropriate for there to be a slight increase in tempo until the figuration of the accompaniment returns half way through bar 12. A slight slowing down is appropriate at the end of phrases and the ornaments in bar 16 and 19 could well imitate the rhythmic shape of the accompaniment. Accompaniments are in place playing at 29, 30, 31 & 32 half note (minim) beats to the minute. Reynaldo Hahn 1874-1947 was born in Venezuela although he is more readily identified as a French composer where he lived most for most of his life and where he became a citizen in 1907. He is particularly remembered for his contribution to the song repertoire which was a strong French music tradition in his lifetime. Like many composers he is identified with the “just below the surface group of composers” who wrote fine well crafted music but never became mainstream, well known even though they might have composed a famous piece of music. Hahn's music is deserving of more attention. Hahn was very well connected to people in the arts and was friends with Marcel Proust and Sarah Bernhardt. Hahn came from a prosperous family and spoke several languages. He had great respect for Fauré and as a musician was trained by some of France’s greatest teachers. He is described as a fin de siècle composer rather than one who embraced the 20th century and its challenges. As a French composer he was overshadowed somewhat by Debussy and Ravel. He contributed music to the concert hall, songs and chamber music for the salon, incidental music, ballet, opera for the theatre and solo piano, piano duet and two piano works. Like many of his contemporaries he was reluctant to challenge the great piano repertoire of Beethoven, Schubert and Brahms. He was highly regarded as a conductor particularly of Mozart operas focusing particularly onthe composer’s intentions rather than stylistic influences prevailing at the time. Close
Tchaikovsky’s Chanson Triste arranged for flute, acoustic guitar & bass. Accompaniments featuring the acoustic guitar & bass are available playing a Show More...
Tchaikovsky’s Chanson Triste arranged for flute, acoustic guitar & bass. 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 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. The arrangement can also be played in a swing style. Listen to this option on the website. The 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 in the bass part. In the guitar part 4 notes 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. 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 would be excellent preparation for playing this intermediate level work. Close
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A bassoon part notated in the tenor clef is appended to the full score. There are four accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. Close
