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Lascia chio pianga

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

Shenandoah arr. string 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 string quartet of 2 violins, viola and violoncello sounding in the key of D. The playback tempo is 84 quarter note beats to the minute and individual parts are appended to the full score. The violin 1 has the option of playing the repeat at the octave. Close

Pieds-en-l’air arr string group

This is an excellent piece for developing legato playing and instrument tone and the arrangement is for violins divided into parts I and II viola and Read More...

This is an excellent piece for developing legato playing and instrument tone and the arrangement is for violins divided into parts I and II viola and violoncellos. 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 string 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 string 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. string quartet

In this arrangement for string quartet the specified instruments are 2 violins, viola, tenor and violoncello. The score is formatted as a one document Read More...

In this arrangement for string quartet the specified instruments are 2 violins, viola, tenor and violoncello. The score is formatted as a one document pdf file with Individual parts for the four string instruments 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

Off To California arr. violin & violoncello

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 keep them fit. 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. 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. The violinist may want to play the repeats at the octave and the playback sound of the violoncello is a pizzicato sound which the player can of course change especially if repeats are played. Folk music scores are generally presented with minimal score detail as is the case in 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 geography/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 violoncello playing the bass line at tempi of (1) 110 (2) 120 and (3) 132 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close

Jeanie with the light brown hair arr. violin, viola & violoncello

This is an arrangement for string trio comprising violin, viola and violoncello of a parlour song by Stephen Foster dating from 1854 and whilst it h Read More...

This is an arrangement for string trio comprising violin, viola and violoncello 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

Keyboard Sonata in D K.491 (Realisation)

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It’s simply a WYSIWY Read More...

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It’s simply a WYSIWYH (what you see is what you hear) version often in a reduced format. This is a rather grand movement featuring strong rhythmic shapes that need to be delivered with clarity of intention and octaves in the left hand. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. In the performance score 64th notes (hemidemisemiquaver) have been used in the notation of the opening and other “quickly played” ornaments to give them more rhythmic shape. The opening ornament is not always played as shown in the performance score. The appoggiaturas as in bar 19 need to be played quickly whilst the ornaments in bar 20 and 21 can be played either as acciaccaturas or appoggiaturas but not a combination of both. The long trill could possibly be longer – another beat perhaps? In the early stages of learning this sonata the music editor suggests missing out the ornaments. Attention needs to be paid to the rhythmic detail and a successful performance requires the tonal contrasts of the phrases and sections of to be exploited. Many performers also experiment with the octave ranges of the piano when performing this sonata. The spacial aspect of the musical content is also something that can be explored both in relationship to the musical ideas between the two hands and also in relation to the chararacterististics of the acoustic in which the sonata is being performed. Tip: Performance scores are on the busy side – in fact they have much too much information – that distracts from the music – however they are a necessary and useful evil - discard them as soon as you are able and use a plain score. Close

Minuet in F K2 arr. violin & cello

Mozart's Minuet in F in an arrangement for violin and cello 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 violin and cello 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. violin, viola & violoncello

In this arrangement for violin, viola and violoncello the sounding key is G. A tempo of 132 quarter note (crotchet) beats to the minute is recommen Read More...

In this arrangement for violin, viola and violoncello the sounding key is G. A tempo of 132 quarter note (crotchet) beats to the minute is recommended. Individuals 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 to style. The Divertimenti (and the related Viennese Sonatinas) are relatively easy works that are well worth exploring. Close

Andante in C from Keyboard Sonata No. 10 arr. violin, viola & violoncello

A graceful movement from one of Haydn's early keyboard sonatas (Hob.XVI/I) 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/I) 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. viola & violoncello

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 arran 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 viola and cello 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. The viola part playing the melody has been moved down an octave. Close

Celibrated Minuet arr. violin & viola

This intermediate version for violin and viola playing pizzicato features the only first minuet of Boccherini’s Minuet and Trio from his String Read More...

This intermediate version for violin and viola playing pizzicato features the only first minuet of Boccherini’s Minuet and Trio from his String Quintet Opus 11 No.5. In this two part arrangement 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. The 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

Celibrated Minuet arr. violin & violoncello

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 violin and cello playing pizzicato 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 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 from Sonatina in G arr. violin viola & violoncello

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for violin viola & cello of the fi 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 violin viola & cello of the first section of the piece, the melody is played by the violin while the chords and bass are played by the viola and cello 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 from Sonatina in G arr. string trio

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this easy arrangement for violin, viola and cello, Read More...

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this easy arrangement for violin, viola and cello, of the first section of the piece, the melody is played by the violin while the arpeggio chords are played by the viola accompanied by a cello playing a bass line. A gentle tempo of 100 quarter note (crotchet) beats to the minute is suggested and the violin has the option of playing the melody up an octave on the repeat. 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 arrangement intended to introduce string players to ensemble playing. There is also another version of this piece for this same instrument combination which is longer and also played at a faster tempo. Close

Romanze arr. violin, viola & violoncello

This is a charming piece of music in 6/8 time and taken from one of Beethoven's Sonatinas for piano. In this arrangement the violin plays the melody w Read More...

This is a charming piece of music in 6/8 time and taken from one of Beethoven's Sonatinas for piano. In this arrangement the violin plays the melody whilst the viola accompanies playing broken chords with the cello providing an outline bass line. A tempo of 66 dotted quarter beats to the minute is recommended and the music sounds in the key of G. This is a very good example of music described as drawing room or salon music. Close

Vivace arr. violin & viola

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 violin and viola 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

Vivace Arr. violin & cello

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 violin and cello 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 forlively. Close

Serenade arr. string trio of violin, viola & violoncello

This is a three part arrangement for string trio comprising violin, viola and cello player of this familiar piece from the string quartet repertoire. Read More...

This is a three part arrangement for string trio comprising violin, viola and cello player 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. viola & violoncello

This is a two part arrangement of Beethoven's Theme and Variations on a Swiss Air WoO 64 for trumpet in Bb and tuba introducing players to the eleme Read More...

This is a two part arrangement of Beethoven's Theme and Variations on a Swiss Air WoO 64 for trumpet in Bb and tuba 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. violin & violoncello

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

This is an two part arrangement of Beethoven's Theme and Variations on a Swiss Air WoO 64 for violin and cello 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. violin & violoncello

An arrangement for violin and cello of this piece intended to introduce players to the musical elements that feature in ragtime. The violin plays the Read More...

An arrangement for violin and cello of this piece intended to introduce players to the musical elements that feature in ragtime. The violin plays the melody whilst the cello 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. Close

El Choclo arr. violin & violoncello

An atmospheric two part arrangement of this familiar tango piece and probably quite a challenge for an improver level violinist. A tempo of 60-66 quar Read More...

An atmospheric two part arrangement of this familiar tango piece and probably quite a challenge for an improver level violinist. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. 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. The English translation of El Choclo is the "The Ear of Corn". Close

La Paloma arr. violin & cello in D

This improver level two part arrangement is for violin and cello 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 violin and cello 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. Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

La Paloma arr. two violins & cello

This arrangement is for two violins and cello playing in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggeste Read More...

This arrangement is for two violins and cello playing 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 accompaniment cello 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. Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

La Paloma arr. violin, viola & cello

This arrangement is for violin, viola and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The Read More...

This arrangement is for violin, viola and cello 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 accompaniment cello 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

Los Tres Golpes arr. violin, viola & 2 violoncellos

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. 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

Variations on Twinkle Twinkle arr. violin & cello

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 explores classical compositional techniques within a two part texture and is intended to encourage duo playing. Close

Prelude in D arr for violin, viola & cello

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

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

Prelude in D minor BWV 926 arr. violin & violoncello

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

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

Jesu, Joy arr. violin & violoncello

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

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

Minuet in B minor arr violin and cello

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

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

Invention No.8 in F arr violin & violoncello

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

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

Invention No.8 in F arr. violin & viola

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

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

Bourrée in Em BWV 996 arr. violin and violoncello

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

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

Invention No.4 in Dm arr for violin and cello

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

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

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

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

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

Invention No.14 in Bb arr for violin & viola

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

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

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

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

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

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

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

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

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

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

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

Polonaise in G minor arr for violin and cello

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

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

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

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

March in D arr for violin and cello

An arrangement for violin and cello of this characterful and lively march written in cut time.

Minuet in G arr for violin and cello

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

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

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

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

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

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

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

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

Minuet in G arr. for violin and cello

An arrangement of this familiar movement for violin and cello.