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Minuet in G BWV App114

J.S. Bach's most familiar melody in an arrangement which has the note letter names in the note heads and some helpful graphics and information.

Minuet in G BWV App.114

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

Minuet in G BWV App.114

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

Prelude in C BWV 946 from The Well Tempered Clavier piano

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

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

Minuet in G App. 114 keyboard or piano

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

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

Minuet in G BWV App.114 keyboard or piano

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

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

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

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

Minuet in G arr. for two guitars

An arrangement for two guitars of this familiar piece from the Anna Magdalena Notebook with TAB support.

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

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

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

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

Minuet in G arr. for violin and cello

An arrangement of this familiar movement for violin and cello.

Minuet in G BWV App.114 keyboard or piano

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

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

Minuet in G BWV App.114 keyboard or piano

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

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

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

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

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

Minuet in G BWV App.114 arr for guitar

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

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

Minuet in G melody and chords

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

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

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

An arrangement of this familiar movement for oboe and bassoon .

Musette in D for piano / keyboard BWV App.126

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

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

Musette in D BWV App.126 piano / keyboard

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Musette in D BWV App.126 arr. for violin and violoncello

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

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

Minuet in D minor BWV App.132 for solo keyboard

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

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

Minuet in D minor BWV App.132 two part

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

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

Minuet in D minor for solo keyboard

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

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

Minuet in D minor BWV App.132 arr. two acoustic guitars

An arrangement for two guitars of the melancholy piece attributed to J.S.Bach in the very expressive key of D minor. Much of the music that appears in Read More...

An arrangement for two guitars of the melancholy piece attributed to J.S.Bach in the very expressive key of D minor. Much of the music that appears in collections by Bach such as the "Anna Magdalena Bach Notebook"and attributed to him has often actually been composed by some else. Close

Minuet in D minor BWV App. 132 arr. for violin & violoncello

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

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

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

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

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

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

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

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

Minuet in D minor BWV App.132 arr. for flute and bassoon

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

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

Minuet in G for solo keyboard

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

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

Minuet in G for solo keyboard

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

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

Minuet in G arr for violin and cello

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

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

Minuet in G arr. for flute and cello

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

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

Minuet arr. for alto saxophone and piano

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

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

Minuet arr. for flute and guitar

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

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

Minuet in G minor BWV App. 115 solo keyboard

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

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

Minuet in G minor BWV App. 115 solo keyboard

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

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

Minuet in A minor arr. two guitars

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

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

Minuet in A minor arr for electric & bass guitar

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

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

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

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

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

Polonaise in G minor BWV App. 119 solo keyboard

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

A characterful and rhythmic piece with strong repetitive elements. This version for piano / keyboard has the letter names of the notes in the noteheads and the right hand and left hand fingering clearly specified. The repetitive elements help give the movement drive and urgency. Close

Polonaise in G minor BWV App.119 solo keyboard

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

The polonaise is a dance in three time of Polish origin and the rhythmic motives featuring in this particlar example are very typical - the repetitive elements help give the movement drive and urgency. This version for piano / keyboard has the right hand and left hand fingering clearly specified whilst a tempo of 110 quarter note (crotchet) beats to the minute is suggested. Close

Polonaise in G minor are for two acoustic guitars

An arrangement for two acoustic guitars with tab of this characterful and rhythmic piece in binary (AB) form in the key of G minor.

Polonaise in G minor arr for violin and cello

An arrangement for violin and cello of this characterful and rhythmic piece in binary (AB) form in the key of G minor.

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

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

Polonaise in G min arr for alto & tenor saxophone

An arrangement for alto saxophone and tenor saxophone of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor.

Polonaise in G minor arr for oboe and bassoon

An arrangement for oboe and bassoon of this characterful and rhythmic piece with strong repetitive elements.

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

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

Polonaise in Gm arr for flute & acoustic guitar

An arrangement for flute and acoustic guitar with tab of this characterful and rhythmic piece in binary(AB) form in the key of G minor. The polonais Read More...

An arrangement for flute and acoustic guitar with tab of this characterful and rhythmic piece in binary(AB) form in the key of G minor. The polonaise is a dance in three time of Polish origin template and the rhythmic motives featuring in this particlar example are very typical. Close

Polonaise in G minor arr for flute and cello

An arrangement for flute and cello of this characterful and rhythmic piece in binary(AB) form in the key of G minor. The polonaise is a dance in thre Read More...

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

Polonaise in G minor arr for horn in F and bassoon

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

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

Siciliano in G minor arr for solo keyboard

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

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

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

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

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

Siciliano in G min arr. flute & piano

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

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

Siciliano in G minor arr. for tenor saxophone & piano

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

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

Siciliano in G minor arr. for alto saxophone & piano

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

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

Siciliano in Gm arr tr recorder, guitar & cello

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

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

Invention No.13 in A minor for solo keyboard

The Two Part Inventions are excellent training pieces but do require a secure technique if they are to be performed competently. This is a challenging Read More...

The Two Part Inventions are excellent training pieces but do require a secure technique if they are to be performed competently. This is a challenging piece because it can be performed convincingly at different tempi. I would suggest that the sixteenth notes (semiquavers) are played evenly without any exaggeration or alteration to the rhythmic intention. This version has right and left hand fingering specified. Close

Invention No.13 in A min arr. for 2 acoustic guitars + TAB

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

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

Invention No.13 in Am arr. electric guitar & bass guitar + TAB

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

Whilst conceived as solo keyboard pieces the Two Part Inventions work really well when played as ensemble pieces and this particular work can be played successfully by a number of different instrument combinations. Remember that in this style of music every note is important so a secure technique is essential. Whilst the realisations have a tempo of 72 quarter note (crotchet) beats to the minute the movement can be performed at tempi both faster and slower than this. The conventionally notated scores are supported by TAB. Close

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

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

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

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

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

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

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

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

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

Invention No.14 in Bb for solo keyboard

The rhythmic figuration requires a secure and competent technique. The playing needs to be even and balanced and require a lightness of touch otherwi Read More...

The rhythmic figuration requires a secure and competent technique. The playing needs to be even and balanced and require a lightness of touch otherwise the tempo will drag. This version has right and left fingering specified on the score. A tempo of around 54 quarter note (crotchet) beats to the bar is suggested. Close

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

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

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

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

Arranged for violin and cello imitation is a strong compositional feature in this movement and will require playing that is even and balanced. A tempo Read More...

Arranged for violin and cello imitation is a strong compositional feature in this movement and will require playing that is even and balanced. A tempo of around 54 quarter note (crotchet) beats to the bar is suggested. Close

Invention No.14 in Bb arr. for trombone and tuba

This, like much of Bach's music, is a very adaptable movement suited to being played by several different combinations of instruments. Arranged for t Read More...

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

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

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

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

Invention No.14 in Bb arr for violin & viola

Arranged for violin and viola the playing of this rhythmic music will need to be even and balanced. A tempo of around 54 quarter note (crotchet) beats Read More...

Arranged for violin and viola the playing of this rhythmic music will need to be even and balanced. A tempo of around 54 quarter note (crotchet) beats to the bar is suggested. Close

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

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

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

Invention No.4 in D minor for solo keyboard

This solo keyboard version of the Two Part Inventions has right and left hand fingering specified. A flowing and reflective movement which should be p Read More...

This solo keyboard version of the Two Part Inventions has right and left hand fingering specified. A flowing and reflective movement which should be played at a tempo which gives the music an uplifting feel rather a plodding one. A tempo of 72 dotted eighth note beats (dotted quaver) to the minute is suggested. The ornaments for this movement do present something of a challenge and I would suggest leaving them out whilst the piece is being learnt. Modern Bach playing benefits from a fairly dry acoustic with little use of the piano sustaining pedal. Close

Invention No.4 in D minor arr. for two acoustic guitars

The Two Part Invention BWV 775 arranged for two acoustic guitars with tab and transcribed to A minor. Whilst conceived as solo keyboard pieces the Inv Read More...

The Two Part Invention BWV 775 arranged for two acoustic guitars with tab and transcribed to A minor. Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this particular work can be played successfully by a number of different instrument combinations. A flowing and reflective movement it needs to be played at a tempo which gives the music an uplifting feel rather a plodding one. A tempo of 72 dotted eighth note beats (dotted quaver) to the minute is suggested. Close

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

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

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

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

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

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

Invention No. 4 in Dm arr. for electric guitar & bass with TAB

An arrangement for electric guitar and electric bass guitar in the key of D minor for this music originally conceived as a keyboard piece. This flowi Read More...

An arrangement for electric guitar and electric bass guitar in the key of D minor for this music originally conceived as a keyboard piece. This flowing and reflective movement which should be played at a tempo which gives the music an uplifting feel rather a plodding one. A tempo of 72 dotted eighth note beats (dotted quaver) to the minute is suggested. These pieces are excellent for developing secure performing technique and an understanding of compositional techique in the baroque era. Both parts are notated in traditionally notated with TAB. Close

Invention No.4 in Dm arr for violin and cello

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

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

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

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

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

Invention No.8 in F BWV 779 (piano)

This busy uplifting movement requires a good technique and level of musicianship to be played accurately and at a consistent tempo. The imitative coun Read More...

This busy uplifting movement requires a good technique and level of musicianship to be played accurately and at a consistent tempo. The imitative counterpoint is a strong feature and and for the notes and shapes to be clearly articulated the piano, organ or keyboard player needs to approach playing the movement with a lightness in the hands. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and used in the realisation. Suggested fingering is also in place. Close

Invention No.8 in F arr for two acoustic guitars

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

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for two acoustic guitars with tab transcribed to the key of A. This busy uplifting movement requires a good technique and level of musicianship to be played accurately and at the recommended tempo of 96 quarter note (crotchet) beats to the minute. The TAB charts may be helpful but do remember that when playing the guitar there are options as to where a note is played. Close

Bourrée in E minor for solo keyboard

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

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

Bourrée in E minor BWV 996 arr. solo keyboard

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

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

Bourrée in Em BWV 996 arr. two acoustic guitars

Arranged for two acoustic guitars with conventional notation with TAB support this particular bourrée shouldn't be played too quickly and a tempo Read More...

Arranged for two acoustic guitars with conventional notation with TAB support this particular bourrée shouldn't be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The musical lines are of equal performance and technical difficulty and make it an ideal ensemble piece for a guitar duo. The realisation is lacking in tonal contrast. Close

Bourrée in Em BWV 996 arr. electric guitar & bass guitar

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar with a moderate to fast tempo beginning with an u Read More...

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar with a moderate to fast tempo beginning with an upbeat on the last quarter note of the bar. Arranged for electric guitar and electric bass with conventional notation and TAB this particular this example shouldn't be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The musical lines are of equal performance and technical difficulty and make it an ideal ensemble piece for a guitar duo. The realisation is lacking in tonal contrast. Close

Bourrée in Em BWV 996 arr. descant & treble recorder

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

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

Bourrée in Em BWV 996 arr. flute & acoustic guitar

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

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

Bourrée in Em BWV 996 arr. flute & bassoon

This particular bourrée shouldn't be played too quickly and in this arrangement for flute and bassoon a tempo of around 60 half note (minim) beats to Read More...

This particular bourrée shouldn't be played too quickly and in this arrangement for flute and bassoon a tempo of around 60 half note (minim) beats to the minute is suggested. This, like much of Bach's music, is a very adaptable movement suited to being played by several different combinations of instruments. The realisation does lack tonal contrast. Close

Bourrée in Em BWV 996 arr. violin and violoncello

Arranged for violin and violoncello this particular bourrée shouldn't be played too quickly and a tempo of around 60 half note (minim) beats to the m Read More...

Arranged for violin and violoncello this particular bourrée shouldn't be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The musical lines are of equal performance and technical difficulty and make it an ideal ensemble piece. The realisation does lack some tonal contrast. Close

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

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

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

Invention No.8 in F arr. violin & bassoon

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

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

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

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

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

Invention No.8 in F arr. violin & viola

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this is an arrangement of BWV 779 for viol Read More...

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this is an arrangement of BWV 779 for violin and viola. The busy uplifting movement requires a good technique and level of musicianship to be played accurately at the recommended tempo of 96 quarter note (crotchet) beats to the minute. The acoustic in the realisation is possibly a little on the generous side and on reflection the tempo of the realisation is rather too quick. Close

Invention No.8 in F arr violin & violoncello

Although conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement of BWV 779 is for violi Read More...

Although conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement of BWV 779 is for violin and violoncello. The busy uplifting movement requires a good technique and level of musicianship to be played accurately at the recommended tempo of 96 quarter note (crotchet) beats to the minute.The acoustic in the realisation is possibly a little on the generous side whilst the tempo can possibly be eased back somewhat. Close

Invention No.8 in F arr. electric guitar & bass guitar

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement for electric guitar and b Read More...

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement for electric guitar and bass with tab is in the original key (F major). This busy uplifting movement requires a good technique and level of musicianship to be played accurately and at the recommended tempo of 96 quarter note (crotchet) beats to the minute. The players are not confined to playing the notes in the positions specified in the TAB charts as the guitar offers choices as to where notes can be played. Close

Invention No.8 in F arr. trombone & tuba

Although conceived as solo keyboard works the Inventions work really well when played as ensemble pieces this arrangement of BWV 779 is for trombone a Read More...

Although conceived as solo keyboard works the Inventions work really well when played as ensemble pieces this arrangement of BWV 779 is for trombone and tuba This busy uplifting movement requires a very good technique and level of musicianship to be played accurately at the recommended (and very challenging tempo) of 96 quarter note (crotchet) beats to the minute. Close

Minuet in B minor arr for solo keyboard

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

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

Minuet in Bm arr for flute, guitar & cello

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

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

Minuet in B minor (Two Part)

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

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

Minuet in B minor arr violin and cello

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

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

Minuet in Bm arr for flute & acoustic guitar

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

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

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

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

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

Minuet in B minor BWV 1067 arr. two acoustic guitars

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

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

Sleeper\'s Wake arr for solo keyboard

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

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

Sleeper\'s Wake arr. for solo keyboard

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

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

Sleeper\'s Wake arr. for guitar & bass guitar

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

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

Sleeper\'s Wake arr. trombone & tuba

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

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

Jesu, Joy arr. for solo keyboard

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

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

Jesu, Joy arr. for solo keyboard

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

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

Jesu, Joy arr. for two acoustic guitars

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

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

Jesu, Joy arr. mandolin & acoustic guitar

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

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

Jesu, Joy arr. electric guitar & bass guitar

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for electric or acoustic guita Read 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 or acoustic 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 two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and provides very good opportunities to develop ensemble playing. Bach's music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Close

Jesu, Joy arr. flute & bassoon

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for flute and bassoon. There i Read 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 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 9/8 time (three dotted quarter note beats to the bar) and provides very good opportunities to develop ensemble playing. Bach's music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Close

Jesu, Joy arr. violin & violoncello

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

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

Jesu, Joy arr. for tenor & bass recorder

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

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

Jesu, Joy arr in 7/8

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

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

Jesu, Joy arr. in 8/8

A rhythmic variant version of this familiar movement in 8/8 time which could be easily adapted and played by several different instrument combinations Read More...

A rhythmic variant version of this familiar movement in 8/8 time which could be easily adapted and played by several different instrument combinations. Bach's music readily invites re-invention of this kind and playing this music in this pattern encourages rhythmic flexibility and is good preparation for playing music in more recent popular idioms. Close

Jesu, Joy arr. for tenor recorder & acoustic guitar

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

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

Prelude in D minor for solo keyboard

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

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

Prelude in D minor BWV 926 arr. two acoustic guitars

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

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

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

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

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

Prelude in D minor BWV 926 arr. violin & violoncello

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

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

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

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

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

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

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

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

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

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

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

Prelude in D for solo keyboard

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

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

Prelude in D arr for violin, viola & cello

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

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

Prelude in C arr for two B Flat trumpets & trombone

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

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

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

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

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

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

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

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

Minuet in G minor App.115 arr. alto & tenor saxophone

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

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

Minuet in G minor BWV App.115 arr. clarinet in B Flat & bass clarinet

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

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

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

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

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

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

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

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

Minuet in G minor BWV App. 115 solo keyboard

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

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

Minuet in G minor two part BWV App.115

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

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

Prelude in C minor BWV 999 for solo keyboard

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

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

Prelude in D minor BWV 999 arr. two acoustic guitars

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

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

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

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

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

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

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

Little Prelude in D BWV936

A lovely piece by Bach to encourage legato playing.

Prelude in G BWV 902

This prelude possibly dates from 1730 and is composed in four voices or lines of music with some sections having all voices sounding, whilst in others Read More...

This prelude possibly dates from 1730 and is composed in four voices or lines of music with some sections having all voices sounding, whilst in others three and sometimes only two. It opens with a section that is almost vocal in character before it transforms into a keyboard piece. There are no ornaments indicated in the score although there is an extraordinary amount of detail in the rhythmic figuration. The B section which begins at Bar 29 has some almost toccata like shapes whilst a four octave range is explored in the keyboard writing. The tempo of the realisation and playback is 72 quarter note beats to the minute and the repeats are not played. The repeat bar is indicated by a double bar at the end of bar 28 and there is also one at the end of the final bar in the sheet music score. One challenge for the performer is communicating the layers and lines that exist in the music with an awareness of an eighth note or quaver pulse. Another is to play the movement at a tempo that is appropriate and which can be maintained for the whole movement. Some of the figuration in the score can be a challenge to play if the tempo is too fast. The piece can be performed AB, AAB and even AABB the latter making it quite a long piece. The music editor when learning the movement started with the final section bars 41-56, before playing bars 29-56 and then the piece as a whole. The specified fingering is appropriate for someone who can manage a reach of a 9th with both hands. A plain score is also appended to the edited music score. Close

Duet No.3 BWV 804 (piano)

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 Read 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

Duet No.3 BWV 804 (organ)

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 Read 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

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

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

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

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

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

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

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

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

Duet No.2 in F BWV 803

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

Two Part Invention No.8 in F BWV 779 (Organ)

Invention No.8 in F is a busy uplifting movement requiring a good technique and level of musicianship to be played accurately and at a consistent temp Read More...

Invention No.8 in F is a busy uplifting movement requiring a good technique and level of musicianship to be played accurately and at a consistent tempo. The imitative counterpoint is a strong feature and the notes and shapes need to be clearly articulated. A tempo of 92 quarter note (crotchet) beats to the minute is used in the organ realisation and video score. Right and left hand fingering is clearly specified in the sheet music download although feedback to the music editor on the placement of fingering would be appreciated. Over, under or to the side of the note? The Two Part Inventions and Sinfonias are essential repertoire for all keyboard players and a very good introduction to playing Bach on the organ. Close

Sinfonia No.12 in A BWV 798 (Organ)

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

Duet No.2 in F BWV 803 (Piano)

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