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Lascia ch’io pianga (Let me cry) arranged wind quartet

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for wind quartet comprising flute, Read More...

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for wind quartet comprising flute, oboe, clarinet in Bb and bassoon. If circumstances arise then there the music could be performed by a wind ensemble with each part played by more than one instrument. Instrument parts are attached to the full score which is available from PlentyMusic as a pdf download. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. Those who enjoy improvising can always record their work can send it as an mp3 to the PlentyMusic office for feedback. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score which is available to view on the PlentyMusic YouTube channel. This is music that is very appropriate music for a solemn processional in a social context context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor observes that instrumental arrangements of a vocal piece are invariably played at a faster tempo. This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close

Lascia ch’io pianga (Let me cry) arranged saxophone quartet

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for saxophone quartet comprising so Read More...

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for saxophone quartet comprising soprano, alto, tenor and baritone saxophones. Individual instrument parts are attached to the full score which is available from PlentyMusic as a pdf download. If circumstances arise then there the music could be performed by an ensemble with each part played by more than one instrument. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. Those who enjoy improvising can always record their work can send it as an mp3 to the PlentyMusic office for feedback. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score which is available to view on the PlentyMusic YouTube channel. This is music that is very appropriate music for a solemn processional in a social context context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor observes that instrumental arrangements of a vocal piece are invariably played at a faster tempo. This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close

Lascia ch’io pianga (Let me cry) arranged recorder group

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for recorder group comprising sopra Read More...

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for recorder group comprising soprano, alto, tenor and bass recorders. Instrument parts are attached to the full score which is available from PlentyMusic as a pdf download. If circumstances arise then there the music could be performed by a recorder ensemble with each part played by more than one instrument. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. Those who enjoy improvising can always record their work can send it as an mp3 to the PlentyMusic office for feedback. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score which is available to view on the PlentyMusic YouTube channel. This is music that is very appropriate music for a solemn processional in a social context context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor observes that instrumental arrangements of a vocal piece are invariably played at a faster tempo. This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close

Lascia ch’io pianga (Let me cry) arranged clarinet quartet

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for clarinet quartet comprising 3 c Read More...

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for clarinet quartet comprising 3 clarinets in B flat and a bass clarinet. Instrument parts are attached to the full score which is available from PlentyMusic as a pdf download. If circumstances arise then there the music could be performed by a ensemble with each part played by more than one instrument. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. Those who enjoy improvising can always record their work can send it as an mp3 to the PlentyMusic office for feedback. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score which is available to view on the PlentyMusic YouTube channel. This is music that is very appropriate music for a solemn processional in a social context context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor observes that instrumental arrangements of a vocal piece are invariably played at a faster tempo. This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close

Invitación (Invitation) arr. clarinet quartet

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for clarinet quartet is in the key of Am Read More...

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for clarinet quartet is in the key of Am and features the Cuban habanera pattern. The arrangement is scored for 3 clarinets in Bb and bass clarinet whilst Individual parts for players are appended to the full music score in the pdf download. It is an excellent piece for ensemble players to help their tuning and intonation by listening to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play absolutely in tune. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the lines to keep to the best and most appropriate range of the instruments. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 64 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) and does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Should some re-scoring be required please advise the PlentyMusic Office. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close

Invitación (Invitation) arr. saxophone quartet

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for saxophone quartet is in the key of Am Read More...

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for saxophone quartet is in the key of Am and features the Cuban habanera pattern. The arrangement is scored for soprano, alto, tenor and baritone saxophones whilst Individual parts for players are appended to the full music score in the pdf download. It is an excellent piece for ensemble players to help their tuning and intonation by listening to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play absolutely in tune. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the lines to keep to the best and most appropriate range of the instruments. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 66 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) and does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Should some re-scoring be required please advise the PlentyMusic Office. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close

Invitación (Invitation) arr. wind quartet (flute, oboe clarinet in B flat & bassoon)

Invitación by I. Cervantes is a short attractive musical work. This #ntermediatelevel arrangement from PlentyMusic for wind quartet is in the key of Read More...

Invitación by I. Cervantes is a short attractive musical work. This #ntermediatelevel arrangement from PlentyMusic for wind quartet is in the key of Am and features the Cuban habanera pattern. The arrangement is scored for flute, oboe and clarinet in Bb and bassoon. The music has been transposed from the original key of E minor to A minor. Individual parts for the wind instruments are appended to the full music score. It is an excellent piece for ensemble players to help their tuning and intonation by listening to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play absolutely in tune. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the lines to keep to the best and most appropriate range of the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 66 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly with regard to tempo and the use of rubato (speeding up and slowing down) and does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Should some re-scoring be required please advise the PlentyMusic Office. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close

Los Tres Golpes (The Three Knocks) arr. clarinet quartet

Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervantes is a movement that explores the habanera pattern. The clarinet quartet arra Read More...

Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervantes is a movement that explores the habanera pattern. The clarinet quartet arrangement enables #clarinettists to explore and develop tone, articulation and dynamics in their playing. The arrangement is scored for 3 clarinets in Bb and bass clarinet.The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to G minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close

Los Tres Golpes (The Three Knocks) arr. saxophone quartet

Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervntes is a movement that explores the habanera pattern. The saxophone quartet arra Read More...

Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervntes is a movement that explores the habanera pattern. The saxophone quartet arrangement is a great performance pieces enabling #saxophonists to explore tone, articulation and dynamics. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to G minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close

Adiós A Cuba (Farewell to Cuba) arr. saxophone sextet

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This intermediate level arrangement from PlentyMusic for saxophone s Read More...

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This intermediate level arrangement from PlentyMusic for saxophone sextet of 2 soprano, alto, 2 tenor and baritone saxophones is available as a free score. It features many of the rhythmic patterns characteristic of Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. If PlentyMusic users require some re-scoring of the movement please advise the PlentyMusic Office of your requirements. Instrumental parts are appended to the full music score which can be downloaded as a pdf. Close

Adiós A Cuba (Farewell to Cuba) arr. clarinet sextet

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic for clarinet sextet of clarinet in Read More...

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic for clarinet sextet of clarinet in Eb, 4 clarinets in Bb and bass clarinet is an intermediate level arrangement and available as a free score. If no clarinet in Eb is available substitute a flute 1 part from the free score for wind sextet. The movement features many of the rhythmic patterns characteristic of Cuban music. It is an excellent movement for encouraging rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. If PlentyMusic users require some re-scoring of the movement please advise the PlentyMusic Office of your requirements. Instrumental parts are appended to the full music score which can be downloaded as a pdf. Close

Adiós A Cuba (Farewell to Cuba) arr. wind sextet

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic for wind sextet of 2 flutes, oboe, Read More...

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic for wind sextet of 2 flutes, oboe, 2 clarinets in Bb and bassoon is an intermediate level arrangement and available as a free score. It features many of the rhythmic patterns characteristic of Cuban music. It is an excellent movement for encouraging rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. If PlentyMusic users require some re-scoring of the movement please advise the PlentyMusic Office of your requirements. Instrumental parts are appended to the full music score which can be downloaded as a pdf. Close

Minuet and Trio in E Flat D.335 arr. clarinet quartet

The Minuet & Trio in E Flat by Franz Schubert is an excellent performance piece and this arrangement is for clarinet quartet comprising 3 clarinets in Read More...

The Minuet & Trio in E Flat by Franz Schubert is an excellent performance piece and this arrangement is for clarinet quartet comprising 3 clarinets in Bb and a bass clarinet. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. Individual instrument parts are appended to the full score which can be downloaded as pdf file from the PlentyMusic website. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the chamber music scores is 116 quarter note beats to the bar whilst both the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. The movement was originally a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small ornamental notes in bar 41 do not sound in the realisation and possibly are best not added until the movement can be played competently. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Should any changes, re-scoring or arrangements for another instrument grouping be needed please contact the PlentyMusic Office and the music editor will respond to the request. Individual clarinets parts are appended to the full score which is available as a pdf download from PlentyMusic. Close

Minuet and Trio in E Flat D.335 arr. saxophone quartet

The Minuet & Trio in Eb by Franz Schubert is an excellent performance piece and this arrangement is for saxophone quartet comprising soprano, 2 alto a Read More...

The Minuet & Trio in Eb by Franz Schubert is an excellent performance piece and this arrangement is for saxophone quartet comprising soprano, 2 alto and tenor saxophones. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. Individual instrument parts are appended to the full score which can be downloaded as pdf file from the PlentyMusic website. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the chamber music scores is 116 quarter note beats to the bar with the Minuet and Trio played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. The movement was originally a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small ornamental notes in bar 41 do not sound in the realisation and possibly are best not added until the movement can be played competently. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases predominantly feature. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Should any changes, re-scoring or arrangements for another instrument grouping be needed please contact the PlentyMusic Office and the music editor will respond to the request. Close

Minuet and Trio in E D.335 arr. wind quartet

Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. It is an excellent performance piece. Read More...

Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. It is an excellent performance piece. Individual instrument parts are appended to the full score which can be downloaded as pdf file from the website. The Minuet and Trio are performed without the written repeats sounding in the realisation. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the chamber music scores is 116 quarter note beats to the bar with the Minuet and Trio played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. The movement was originally a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small ornamental notes in bar 41 do not sound in the realisation and possibly are best not added until the movement can be played competently. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases predominantly feature. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Should any changes, re-scoring or arrangements for another instrument grouping be needed please contact the PlentyMusic Office and the music editor will respond to the request. Close

Minuet in A Flat arr. clarinet quintet of 4 clarinets in B Flat and bass clarinet

The clarinet quintet arrangement of the Minuet is available from PlentyMusic as a free score. The full score has appended parts and is available as a Read More...

The clarinet quintet arrangement of the Minuet is available from PlentyMusic as a free score. The full score has appended parts and is available as a one file pdf download. Using the PlentyMusic android app the music could be printed from a smart phone. The clarinet quintet arrangement is scored for 4 clarinets in Bb and a bass clarinet. The Minuet and Trio is performed without the repeats in the Minuet sounding in the realisation. A quiet enchanting movement that demonstrates how much that Franz Schubert was a chamber musician. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver musically and accurately. It is an excellent movement for developing an understanding of a musical texture in the romantic era. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. Another challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. If you would like the movement to be scored for different instruments please advise the PlentyMusic Office and one of the team will explore the possibilities. PlentyMusic would be interested in hearing and seeing any performances of this movement either in mp3 or mp4 format. Close

Minuet in A Flat arr. for saxophone quintet of soprano, 2 alto, tenor and baritone saxophones D.334

The saxophone arrangement of the Minuet in Ab D.338 available from PlentyMusic as a free score. The full score has appended parts and is available as Read More...

The saxophone arrangement of the Minuet in Ab D.338 available from PlentyMusic as a free score. The full score has appended parts and is available as a one file pdf download. Using the PlentyMusic android app the music could be printed from a smart phone. The saxophone quintet arrangement is scored for soprano, 2 alto, tenor and baritone saxophones. The Minuet and Trio is performed without the repeats in the Minuet sounding in the realisation. A quiet enchanting movement that demonstrates how much that Franz Schubert was a chamber musician. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver musically and accurately. It is an excellent movement for developing an understanding of a musical texture in the romantic era. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. Another challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. If you would like the movement to be scored for a different instrument combination please advise the PlentyMusic Office and one of the team will explore the possibilities. PlentyMusic would be interested in hearing and seeing any performances of this movement either in mp3 or mp4 format. Close

Minuet in A arr. wind quintet of flute, oboe, clarinet in A, horn in F (French horn) and bassoon D.334

The wind quintet arrangement of the Minuet for flute, oboe, clarinet in A, French horn and bassoon is available from PlentyMusic as a free score. The Read More...

The wind quintet arrangement of the Minuet for flute, oboe, clarinet in A, French horn and bassoon is available from PlentyMusic as a free score. The full score has appended parts and is available as a one file pdf download. Using the PlentyMusic android app the music could be printed from a smart phone. Schubert’s Minuet D.334 is a hidden gem of the music repertoire that needs to played and become known by instrument players and audiences. If PlentyMusic users would like the movement to be score for any additional instruments please advise the PlentyMusic Office and one of the team will respond. The Minuet and Trio is performed without the repeats in the Minuet sounding in the video score. A quiet enchanting movement that adds evidence to the suggestion that Franz Schubert was essentially a chamber musician. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver musically and accurately. Whilst a solo work for piano it is very evident that the musical conception could quite easily be for a group of musicians. It is an excellent movement for developing an understanding of a musical texture in the romantic era. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. Another challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Individual instrument parts transposed where appropriate are appended to the full score in the pdf download. Close

Lascia ch’io pianga (Let me cry) arranged organ

The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was revised in 1733. It is in ABA form and based on the sarabande rh Read More...

The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in the bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is option available to the organists although it is important to keep to the style and mood of the piece. This is very appropriate music for a solemn processional in an organ playing context. The use of three registrations is suggested and are indicated in the score. Rests have been indicated in all parts so that players have a clear understanding of the voicing. It is also a movement that invites interpretation and playing in different contexts. The arrangement is in the original key of F major although the tempo for the organ solo is more Larghetto than Largo which was the tempo indication in the opera. The video score plays back at a tempo of 66 half note or minim beats to the minute. Rests are indicated in the score enabling players to have a clear understanding of the voicing of the musical lines. Moskowski has also arranged the aria for piano. Close

It’s A Date

It's A Date is a beginner level piano/keyboard piece based on a 12 bar blues. As a beginner score the letter names of the notes appear in the note hea Read More...

It's A Date is a beginner level piano/keyboard piece based on a 12 bar blues. As a beginner score the letter names of the notes appear in the note heads and suggested fingering is in place. The tempo of the playback on the video score is 84 half note or minim beats to the minute.Players need to take notice of the accent signs marked in the score and keep their hands as light as possible. Playing a blues structured piece of music does encourage fluent playing and the development of musical memory. The 12 bar blues forms the basis of much popular music of the 20th century. Close

Sweet Dreams arr. saxophone choir/ quintet

An arrangement for soprano, two alto, tenor and baritone saxophones – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovs Read More...

An arrangement for soprano, two alto, tenor and baritone saxophones – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing and tone quality in the melody playing. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. The score and parts can be downloaded as a one document pdf file from the website. Close

Sweet Dreams arr. clarinet choir/ quintet

An arrangement for four clarinets in Bb and bass clarinet – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1 Read More...

An arrangement for four clarinets in Bb and bass clarinet – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing and tone quality in the melody playing. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. The score and parts can be downloaded as a one document pdf file from the website. Close

Shenandoah arr. clarinet quartet

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Read More...

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for a clarinet quartet comprising 3 clarinets in Bb and bass clarinet sounding in the key of Eb. The playback tempo is 84 quarter note beats to the minute and individual parts appropriately transposed are appended to the full score. Close

Shenandoah arr. saxophone quartet

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Read More...

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for a saxophone quartet of soprano, alto, tenor and baritone saxophones sounding in the key of Eb. The playback tempo is 84 quarter note beats to the minute and individual parts appropriately transposed are appended to the full score. Close

When The Saints Go Marching In arr. saxophone quintet

When The Saints Go Marching In arranged for saxophone quintet sounding in the key of F. There are parts for parts for soprano, 2 x alto, tenor and bar Read More...

When The Saints Go Marching In arranged for saxophone quintet sounding in the key of F. There are parts for parts for soprano, 2 x alto, tenor and baritone saxophones. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist keyboard player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. Individual parts for the five instruments are appended to the full score. Close

When The Saints Go Marching In arr. clarinet in B Flat choir

When The Saints Go Marching In arranged for clarinet choir sounding in the key of F. There are parts for 4 clarinets in Bb and bass clarinet. The play Read More...

When The Saints Go Marching In arranged for clarinet choir sounding in the key of F. There are parts for 4 clarinets in Bb and bass clarinet. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist keyboard player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. Individual parts for the five instruments are appended to the full score. Close

Pieds-en-l’air arr saxophone ensemble

This is an excellent piece for developing legato playing and instrument tone and this arrangement is for soprano, alto, tenor with possibly two instru Read More...

This is an excellent piece for developing legato playing and instrument tone and this arrangement is for soprano, alto, tenor with possibly two instruments playing each line and baritone saxophone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a saxophone ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. Individual saxophone parts are appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close

Pieds-en-l’air arr clarinet choir

This is an excellent piece for developing legato playing and instrument tone and this arrangement is for clarinets divided into parts I, II and III ( Read More...

This is an excellent piece for developing legato playing and instrument tone and this arrangement is for clarinets divided into parts I, II and III (ideally two instruments or more on each line) and bass clarinet. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a clarinet group to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. Individual clarinet parts are appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close

No Bailes Más! (Dance No More) arr. clarinet quartet

In this arrangement for clarinet quartet the specified instruments are three clarinets in Bb and a bass clarinet. The score is formatted as a one docu Read More...

In this arrangement for clarinet quartet the specified instruments are three clarinets in Bb and a bass clarinet. The score is formatted as a one document pdf file with individual parts appropriately transposed for the four clarinets appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D it plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly. Close

No Bailes Más! (Dance No More) arr. saxophone quartet

In this arrangement for saxophone quartet the specified instruments are soprano, alto, tenor and baritone saxophones. The score is formatted as a one Read More...

In this arrangement for saxophone quartet the specified instruments are soprano, alto, tenor and baritone saxophones. The score is formatted as a one document pdf file with individual parts for the four saxophones appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb which is the sounding key of this realisation playing at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly in this sunny piece. Close

Off To California arr. clarinet in B Flat & bass clarinet in B Flat

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on lo Read More...

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to both encourage fitness. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged when performing this style of music. In this arrangement for clarinet in Bb and bass clarinet in Bb the realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played and there is no ornamentation of the melodic line in this two part version. Folk music scores are generally presented with minimal score detail as is the case with this score. Understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes both geography and even locality. A study of ornamentation in folk music the music editor suggests is not for the faint hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the bass clarinet playing the bass line at tempi of (1) 132 (2) 120 and (3) 110 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close

Off To California arr. oboe & bassoon

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on lo Read More...

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to encourage fitness. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged when performing music in this style. In this arrangement for oboe and bassoon the realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played and there is also no ornamentation of the melodic line in this two part version. Understand that folk music scores are generally presented with minimal score detail. The playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography even locality. A study of ornamentation in folk music the music editor suggests is not for the faint hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the bassoon playing the bass line at tempi of (1) 132 (2) 120 and (3) 110 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close

Swing Low, Sweet Chariot arr. clarinet choir

This is a very popular piece of music that in many respects transcends idiom, style and it could be suggested culture. This improver level arrangement Read More...

This is a very popular piece of music that in many respects transcends idiom, style and it could be suggested culture. This improver level arrangement for clarinet choir of 3 clarinets in Bb and bass clarinet is in common time although some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary style. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. This arrangement explores a gentle rock style whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar. The full score includes a piano short score and individual parts for the three clarinets in Bb and bass clarinet are appended to the full score. Close

Swing Low, Sweet Chariot arr. saxophone quartet

This is a very popular piece of music that in many respects transcends idiom, style & it could be suggested culture. This improver level arrangement i Read More...

This is a very popular piece of music that in many respects transcends idiom, style & it could be suggested culture. This improver level arrangement is in common time while some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary style. There are so many interpretations that it is almost impossible to decide how it should be sung, played & performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. This arrangement explores a gentle rock style whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar. The full score includes a piano short score and individual parts for soprano, alto, tenor and baritone saxophone are appended to the full score. 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.

Notturno arr. clarinet choir

The arrangement is scored for four clarinets and bass clarinet and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in Read More...

The arrangement is scored for four clarinets and bass clarinet and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dating from 1881 the movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts whilst the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work has been incorporated into the arrangement whilst individual clarinet parts are appended to a copy of the full score. Close

Notturno arr. Wind Quintet in A

The arrangement is scored for flute, oboe, clarinet in A, horn in F (French horn) and bassoon and uses the first theme from the third movement of Boro Read More...

The arrangement is scored for flute, oboe, clarinet in A, horn in F (French horn) and bassoon and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dating from 1881 the movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts whilst the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work has been incorporated into the arrangement. Individual parts appropriately transposed are appended to a copy of the full score. Close

Jeanie with the light brown hair arr. flute, B Flat clarinet & bassoon

This is an arrangement for woodwind trio comprising flute , clarinet in Bb and bassoon of a parlour song by Stephen Foster dating from 1854 and whils Read More...

This is an arrangement for woodwind trio comprising flute , clarinet in Bb and bassoon of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. The small ornamental notes, apart from the acciaccaturas (crushed notes), in the melody line of the arrangement are optional and do not sound in the realisation. Individual instrument parts are appended to the full score. Close

Dedicatoria arr. flute, B Flat clarinet & bassoon

A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for flute, clarinet in Bb and bassoon the tempo of the rea Read More...

A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for flute, clarinet in Bb and bassoon the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period or nationalist period in music history. Close

Minuet in F K2 arr. B Flat clarinet and bassoon

Mozart's Minuet in F in an arrangement for Bb clarinet and bassoon in the original key of F. Mozart's work is a simply structured binary form movemen Read More...

Mozart's Minuet in F in an arrangement for Bb clarinet and bassoon in the original key of F. Mozart's work is a simply structured binary form movement. The minuet is a dance of French origin in 3/4 time and in an expanded form became important in the Classical era by often being incorporated into many symphonies. The K numbers associated with Mozart scores refers to the Köchel or catalogue numbers that describe the chronologically order of his compositions. This catalogue was created some fifty years after the composers death and K2 understandably is his second published work composed when he was 6. The clarinet part has been appropriately transposed in the score. Close

Minuet in F K2 arr. flute and bassoon

Mozart's Minuet in F in an arrangement for flute and bassoon in the original key of F. Mozart's example is of a simply structured binary form movement Read More...

Mozart's Minuet in F in an arrangement for flute and bassoon in the original key of F. Mozart's example is of a simply structured binary form movement. The minuet is a dance of French origin in 3/4 time and in an expanded form became important in the Classical era by often being incorporated into many symphonies. The K numbers associated with Mozart scores refers to the Köchel or catalogue numbers that describe the chronologically order of his compositions. This catalogue was created some fifty years after the composers death and K2 understandably is his second published work composed when he was 6. Close

Mvt 1. Divertmento No.3 arr. flute, oboe & bassoon

In this arrangement for flute, oboe & bassoon the sounding key is C. A tempo of 132 quarter note (crotchet) beats to the minute is recommended whils Read More...

In this arrangement for flute, oboe & bassoon the sounding key is C. A tempo of 132 quarter note (crotchet) beats to the minute is recommended whilst individual instruments parts are appended to the full score. This movement demonstrates the essential elements of Mozart's compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive stylistically. The Divertimenti (and the related Viennese Sonatinas) are relatively easy works well worth exploring. Close

Mvt 1. Divertimento No.3 arr. flute, clarinet in B Flat & bassoon

In this arrangement for two Bb clarinets & bassoon the sounding key is Bb and a tempo of 132 quarter note (crotchet) beats to the minute is recommende Read More...

In this arrangement for two Bb clarinets & bassoon the sounding key is Bb and a tempo of 132 quarter note (crotchet) beats to the minute is recommended. The parts for the individual instruments are appended to the full score. This movement demonstrates the essential elements of Mozart's compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive stylistically. The Divertimenti (and the related Viennese Sonatinas) are relatively easy works well worth exploring. Close

Mvt 1. Divertimento No.3 arr. 2 B Flat clarinets & bassoon

In this arrangement for two Bb clarinets & bassoon the sounding key is Bb and a tempo of 132 quarter note (crotchet) beats to the minute is recommende Read More...

In this arrangement for two Bb clarinets & bassoon the sounding key is Bb and a tempo of 132 quarter note (crotchet) beats to the minute is recommended. The parts for the individual instruments are appended to the full score. This movement demonstrates the essential elements of Mozart's compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive stylistically. The Divertimenti (and the related Viennese Sonatinas for piano) are relatively easy works well worth exploring. Close

Mvt. 1. Divertimento No.3 arr. recorders

In this arrangement for treble, tenor and great bass recorders the sounding key is C. A tempo of 132 quarter note (crotchet) beats to the minute is Read More...

In this arrangement for treble, tenor and great bass recorders the sounding key is C. A tempo of 132 quarter note (crotchet) beats to the minute is recommended whilst individual instruments parts are appended to the full score. This movement demonstrates the essential elements of Mozart's compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive stylistically. The Divertimenti (and the related Viennese Sonatinas) are relatively easy works well worth exploring. Close

Mvt.1 Divertimento No.3 arr. oboe, English horn, bassoon

In this arrangement for oboe, English horn & bassoon the sounding key is C. A tempo of 132 quarter note (crotchet) beats to the minute is recommende Read More...

In this arrangement for oboe, English horn & bassoon the sounding key is C. A tempo of 132 quarter note (crotchet) beats to the minute is recommended. Individual instruments parts are appended to the full score with the English horn part appropriately transposed. This movement demonstrates the essential elements of Mozart's compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive stylistically. The Divertimenti (and the related Viennese Sonatinas) are relatively easy works well worth exploring. Close

Mvt 1. Divertmento No.3 arr. 2 oboes & bassoon

In this arrangement for two oboes & bassoon the sounding key is C and a tempo of 132 quarter note (crotchet) beats to the minute is recommended. The p Read More...

In this arrangement for two oboes & bassoon the sounding key is C and a tempo of 132 quarter note (crotchet) beats to the minute is recommended. The parts for the individual instruments are appended to the full score. This movement demonstrates the essential elements of Mozart's compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive stylistically. The Divertimenti (and the related Viennese Sonatinas) are relatively easy works well worth exploring. Close

Andante in C from Keyboard Sonata No. 10 arr. oboe, clarinet in B Flat & bassoon

A graceful movement from one of Haydn's (Hob. XVI/I) early keyboard sonatas with a melody that very much captures the spirit of the classical age. The Read More...

A graceful movement from one of Haydn's (Hob. XVI/I) early keyboard sonatas with a melody that very much captures the spirit of the classical age. The melody needs to be played in a flowing and even manner style and played at a tempo in which the music is does not seem to be rushed. The appeal of the music is very much in its simplicity whilst a tempo of 42 quarter notes (crotchet) beats to the minute is suggested. The balance between the instrumental parts could possibly be improved in performance and more attention paid to the ends of the phrases which are not as well shaped in the realisation as they possibly could be. In the realisation a consistent approach to the interpretation of the ornaments is the intention but there are other solutions and additions that can be made. Performers of this work often vary and add additional ornaments in the the repeat sections and consequently no two performances of the movement are interpretated in the same way. The ornaments in this version are written out in an ossia staff but can always be omitted in the early stages of learning the piece. Close

Andante in C from Keyboard Sonata No. 10 arr. flute, clarinet in B Flat & bassoon

A graceful movement from one of Haydn's early keyboard sonatas (Hob. XVI/1) with a melody that very much captures the spirit of the classical age. The Read More...

A graceful movement from one of Haydn's early keyboard sonatas (Hob. XVI/1) with a melody that very much captures the spirit of the classical age. The melody needs to be played in a flowing and even manner style and played at a tempo in which the music is does not seem to be rushed. The appeal of the music is very much in its simplicity whilst a tempo of 42 quarter notes (crotchet) beats to the minute is suggested. The balance between the instrumental parts could possibly be improved in performance and more attention paid to the ends of the phrases which are not as well shaped in the realisation as they possibly could be. In the realisation a consistent approach to the interpretation of the ornaments is the intention but there are other solutions and additions that can be made. Performers of this work often vary and add additional ornaments in the the repeat sections and consequently no two performances of the movement are interpretated in the same way. The ornaments in this version are written out in an ossia staff but can always be omitted in the early stages of learning the piece. Close

Celibrated Minuet arr. flute & bassoon

This intermediate version features the only first minuet of Boccherini's Minuet and Trio from his String Quintet Opus 11 No.5. In this two part arrang Read More...

This intermediate version features the only first minuet of Boccherini's Minuet and Trio from his String Quintet Opus 11 No.5. In this two part arrangement for flute and bassoon the musical texture has been simplified into melody and accompaniment. The ornaments have been written out in full to assist players although I would suggest that they are perhaps omitted in the early stages of learning the piece. This movement requires a very consistent approach which will be a challenge to players inexperienced in performing music from this era. A tempo of 100 quarter note (crotchet) beats to the minute is recommended. Close

Rondo arr. flute, clarinet in A & bassoon

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for flute, clarinet in A and basso Read More...

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for flute, clarinet in A and bassoon of the first section of the piece, the melody is played by the flute while the chords and bass are played by the clarinet in A and bassoon respectively. A tempo of 110 quarter note (crotchet) beats to the minute is suggested. The rondo was composed by Clementi, known in his own time as a teacher, composer, performer and even as a manufacturer of pianos spending most of his adult life living in England. His Opus 36 Sonatinas are a rich source of music for piano players. A rondo is a piece with a recurring theme although only the A or first section is featured in this improver level arrangement intended to introduce players of these instruments to ensemble playing. Close

Rondo (Sonatina) arr. sop, alto & tenor saxophone

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for soprano, alto & tenor saxophon Read More...

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for soprano, alto & tenor saxophone, of the first section of the piece, the melody is played by the soprano saxophone while the chords and bass are played by the alto saxophone and tenor saxophone respectively. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and the sounding key is F The rondo was composed by Clementi, known in his own time as a teacher, composer, performer and even as a manufacturer of pianos spending most of his adult life living in England. His Opus 36 Sonatinas are a rich source of music for piano players. A rondo is a piece with a recurring theme although only the A or first section is featured in this improver level arrangement intended to introduce players of these instruments to ensemble playing. Close

Rondo (Sonatina) arr. two B Flat & bass clarinets

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for two Bb clarinets ,and bass cla Read More...

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for two Bb clarinets ,and bass clarinet of the first section of the piece, the melody is played by the first clarinet in Bb while the chords and bass are played by the second clarinet and bass clarinet respectively. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and the sounding key is F The rondo was composed by Clementi, known in his own time as a teacher, composer, performer and even as a manufacturer of pianos spending most of his adult life living in England. His Opus 36 Sonatinas are a rich source of music for piano players. A rondo is a piece with a recurring theme although only the A or first section is featured in this improver level arrangement intended to introduce players of these instruments to ensemble playing. Close

Romanze arr. flute, clarinet in B Flat & bassoon

This is a charming piece of music in 6/8 time and taken from one of Beethoven’s Sonatina’s for piano. In this arrangement for woodwind trio compri Read More...

This is a charming piece of music in 6/8 time and taken from one of Beethoven’s Sonatina’s for piano. In this arrangement for woodwind trio comprising flute, clarinet in Bb and bassoon a tempo of 66 dotted quarter beats to the minute is recommended. The music has been transposed to the key of F and individual parts are appended to the full score. This is the second movement of Beethoven’s Sonatina in G. Whilst attributed to the composer the sonatina from which this music is from may have actually been composed by someone else. The music is from a catalogue described as an appendix. Close

Vivace arr. oboe and bassoon

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishin Read More...

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishing and the manufacture of pianos. This arrangement for oboe and bassoon is from a movement of one of his Opus 36 piano sonatinas. This particular piece has been selected to encourage fast playing and the realisation has a tempo of 72 dotted quarter note (crotchet) beats to the minute. Vivace is Italian for lively. Close

Vivace arr. flute and bassoon

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishin Read More...

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishing and the manufacture of pianos. This arrangement for flute and bassoon is from a movement of one of his Opus 36 piano sonatinas. This particular piece has been selected to encourage fast playing and the realisation has a tempo of 72 dotted quarter note (crotchet) beats to the minute. Vivace is Italian for lively. Close

Vivace arr. descant and tenor recorder

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishin Read More...

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishing and the manufacture of pianos. This arrangement for descant and tenor recorder is from one of his Opus 36 sonatinas for piano. This particular piece has been selected to encourage fast playing and the realisation has a tempo of 72 dotted quarter note (crotchet) beats to the minute. Vivace is Italian for lively. Close

Serenade arr. descant (or treble) & tenor recorder

This is an arrangement for descant (or treble recorder) playing the melody and tenor recorder playing the accompaniment of this familiar piece from th Read More...

This is an arrangement for descant (or treble recorder) playing the melody and tenor recorder playing the accompaniment of this familiar piece from the string quartet repertoire. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The music in the movement does sound easy to play although there are challenges in playing music of this era well and musically. In performance, the articulation of the notes needs to be consistent - the melody is to be played legato (Andante Cantabile) and the accompaniment staccato or at least in a detached manner. A tempo of 100 quarter note (crotchet) beats to the bar is suggested. In the realisation it is a descant recorder that plays the melody. Close

Serenade arr. tenor recorder & acoustic guitar

This is an arrangement for tenor recorder and acoustic guitar duo of this familiar piece from the string quartet repertoire. The music possesses class Read More...

This is an arrangement for tenor recorder and acoustic guitar duo of this familiar piece from the string quartet repertoire. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The music in the movement does sound easy to play although there are challenges in playing music of this era well and musically. In performance, the articulation of the notes needs to be consistent - the melody is to be played legato (Andante Cantabile) and the accompaniment staccato or at least in a detached manner. A tempo of 100 quarter note (crotchet) beats to the bar is suggested. Close

Serenade arr. woodwind trio of flute,clarinet in B Flat & bassoon

This is a three part arrangement for woodwind trio comprising flute, clarinet in Bb & bassoon of this familiar piece from the string quartet repertoir Read More...

This is a three part arrangement for woodwind trio comprising flute, clarinet in Bb & bassoon of this familiar piece from the string quartet repertoire. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The music in the movement does sound easy to play although there are challenges in playing music of this era well and musically. In performance, the articulation of the notes needs to be consistent - the melody is to be played legato and the accompaniment staccato or at least in a detached manner. A tempo of 100 quarter note (crotchet) beats to the bar is suggested. Close

Theme & Variations arr. English horn & bassoon

This is an two part arrangement of Beethoven's Theme and Variations on a Swiss Air WoO 64 for English horn (Cor Anglais) and bassoon introducing play Read More...

This is an two part arrangement of Beethoven's Theme and Variations on a Swiss Air WoO 64 for English horn (Cor Anglais) and bassoon introducing players to the elements of Classical style and more particularly to Beethoven's compositional approach. The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations although variations 2 & 3 need to be played at a slightly slower tempo. Close

Theme & Variations arr. B Flat clarinet & bass clarinet

This is an two part arrangement of Beethoven's Theme and Variation on a Swiss Air WoO 64 for clarinet in Bb and bass clarinet introducing players to t Read More...

This is an two part arrangement of Beethoven's Theme and Variation on a Swiss Air WoO 64 for clarinet in Bb and bass clarinet introducing players to the elements of Classical style and more particularly to Beethoven's compositional approach . The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations although variations 2 & 3 need to be played at a slightly slower tempo. Close

Theme & Variations arr. flute & bassoon

This is an two part arrangement of Beethoven's Theme and Variations on a Swiss Air WoO 64 introducing players to the elements of Classical style and Read More...

This is an two part arrangement of Beethoven's Theme and Variations on a Swiss Air WoO 64 introducing players to the elements of Classical style and more particularly to Beethoven's compositional approach . The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations although variations 2 & 3 need to be played at a slightly slower tempo. Close

The Good Time’s Rag arr. two B Flat clarinets

An arrangement for two clarinets in Bb of this piece intended to introduce players to the musical elements that feature in ragtime. One clarinet plays Read More...

An arrangement for two clarinets in Bb of this piece intended to introduce players to the musical elements that feature in ragtime. One clarinet plays the melody whilst the other plays the accompanying bass line. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. Players are welcome to repeat the 8 bars in performance possibly changing parts which have been transposed to sound in the key of Bb. Close

The Good Time’s Rag arr. B Flat & bass clarinet

An arrangement for clarinet in Bb and bass clarinet of this piece intended to introduce players to the musical elements that feature in ragtime. The c Read More...

An arrangement for clarinet in Bb and bass clarinet of this piece intended to introduce players to the musical elements that feature in ragtime. The clarinet in Bb plays the melody whilst the bass clarinet plays the accompanying bass line. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. Players are welcome to repeat the 8 bars in performance. Both instrument parts have been transposed to sound in the key of Bb. Close

The Good Time\'s Rag arr. descant & tenor recorders

A two part beginner piece intended to introduce descant and tenor recorder players to ragtime music. To assist beginner players the letter names of th Read More...

A two part beginner piece intended to introduce descant and tenor recorder players to ragtime music. To assist beginner players the letter names of the noteheads are written in the noteheads and there are chord symbols notated on the score so that a guitar or similar chord instrument can be added to the ensemble. A tempo of 110 quarter notes (crotchet) beats to the minute is suggested. Close

The Good Time\'s Rag arr. flute & bassoon

A two part beginner piece to introduce instrument players to the musical elements that feature in ragtime music namely syncopated rhythms and clearly Read More...

A two part beginner piece to introduce instrument players to the musical elements that feature in ragtime music namely syncopated rhythms and clearly articulated melody shapes typically based on chords. A tempo of 110 quarter notes (crotchet) beats to the minute is suggested. Close

Wilson’s Rag arr. clarinet in B Flat & bass clarinet

A two part arrangement of this ragtime waltz for clarinet in Bb and bass clarinet. A tempo of 110 quarter note (crotchet) beats to the minute is sugge Read More...

A two part arrangement of this ragtime waltz for clarinet in Bb and bass clarinet. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. The sounding key is F so that the instrument parts are appropriately transposed. Close

Wilson’s Rag arr. flute & bassoon

A two part arrangement of this ragtime waltz for flute and bassoon. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is use Read More...

A two part arrangement of this ragtime waltz for flute and bassoon. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. Close

El Choclo arr. flute & bassoon

This very popular tango dates from 1903 and is probably quite a challenge for an improver level flute player. A tempo of 60-66 quarter note (crotchet Read More...

This very popular tango dates from 1903 and is probably quite a challenge for an improver level flute player. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. The English translation of El Choclo is the "The Ear of Corn". Ángel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close

La Paloma arr. flute & bassoon

This improver level two part arrangement is for flute and bassoon in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute Read More...

This improver level two part arrangement is for flute and bassoon in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

La Paloma arr. clarinet in B Flat & bass clarinet

This improver level two part arrangement is for clarinet in Bb and bass clarinet sounding in the key Bb. A tempo of of around 60 quarter note (crotche Read More...

This improver level two part arrangement is for clarinet in Bb and bass clarinet sounding in the key Bb. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

Soirée Polka arr. 3 B Flat clarinets & bass clarinet.

This is an arrangement for 3 clarinets in Bb with a bass clarinet. The polka is a lively characterful dance that originated from the area now known as Read More...

This is an arrangement for 3 clarinets in Bb with a bass clarinet. The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. The individual clarinet parts are also appended to the full music score. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close

Los Tres Golpes arr. flute, 2 clarinets in B Flat & bassoon

Ignacio Cervantes (1847-1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) o Read More...

Ignacio Cervantes (1847-1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) originally composed for piano is one of his Danzas Cubanas exploring the habanera rhythm. It is a short piece usually played through twice in a performance. It has a haunting quality and is suited to being played by a number of different instrument combinations with this arrangement specifying clarinets in A. His music combines Cuban, European and African elements and he was fortunate in being able to travel to Paris to further his music studies studying with Charles-Valentin Alkan and others. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Close

Twinkle, Twinkle Little Star arr. oboe & bassoon

A familiar melody used to introduce some of the elements of classical performance style in a two part context. This arrangement is for oboe and bassoo Read More...

A familiar melody used to introduce some of the elements of classical performance style in a two part context. This arrangement is for oboe and bassoon will help players understand about legato playing and phrasing and to assist players the letter names of the notes appear in the noteheads. Close

Twinkle, Twinkle arr for B Flat clarinet & bassoon

A familiar melody used to introduce some of the elements of classical performance style in a two part context. This arrangement is for Bb clarinet and Read More...

A familiar melody used to introduce some of the elements of classical performance style in a two part context. This arrangement is for Bb clarinet and bassoon will help players understand about legato playing and phrasing and to assistthe letter names of the notes appear in the noteheads. Close

Twinkle, Twinkle arr. descant & tenor recorder

A familiar melody used to introduce some of the stylistic elements of playing classical music in a two part context. This arrangement is for decant a Read More...

A familiar melody used to introduce some of the stylistic elements of playing classical music in a two part context. This arrangement is for decant and treble recorder. Close

Twinkle Variations arr. alto & tenor saxophone

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate le Read More...

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate level arrangement for alto and tenor saxophone explores classical compositional techniques in a two part texture and features an alberti style bass, the melody played in the bass clef and changes of time signature. The music has been transposed and sounds in the key of F. Close

Twinkle,Twinkle Variations arr. B Flat & bass clarinet

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate le Read More...

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate level arrangement for clarinet in Bb and bass clarinet explores classical compositional techniques in a two part texture and features an alberti style bass, the melody played in the bass clef and changes of time signature. Close

Twinkle, Twinkle Variations arr. oboe & bassoon

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate le Read More...

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate level arrangement for oboe and bassoon explores classical compositional techniques in a two part texture and is intended to help encourage duo playing. 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 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

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

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

Sleeper’s Wake arr Bb clarinet and bassoon

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

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

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

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

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. 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

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

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. 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

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

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 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 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 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.

March in D arr for oboe and bassoon

An arrangement for oboe and bassoon of this characterful and lively march written in cut time.

March in C arr. clarinet in B Flat & bass clarinet

An arrangement for clarinet in Bb and bass clarinet of this lively and popular dance by C.P.E.Bach

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

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

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

An arrangement of this familiar movement for oboe and bassoon .

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