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Study in Canon No.6 Opus 56 arr. trumpet in B Flat, trombone and piano

This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expandi Read More...

This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music to be enjoyed by a chamber group. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 64 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the trumpet in Bb player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a trombone and require just the piano sounding in the accompaniment. Close

Study in Canon No.6 Opus 56 arr. violin, violoncello and piano

T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different ins Read More...

T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different instrument combinations. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to on the trio video scores on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. The final chord should be spread evenly from the lowest to the highest sound in the piano part. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the oboe player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a cellist and require just the piano sounding in the accompaniment. Close

Study in Canon No.6 Opus 56 arr. clarinet in A, violoncello and piano

T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different ins Read More...

T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different instrument combinations. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to one of the video scores on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. The final chord should be spread evenly from the lowest to the highest sound in the piano part. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the oboe player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a cellist and require just the piano sounding in the accompaniment. Close

Study in Canon No.6 Opus 56 arr. clarinet in B Flat, bass clarinet and piano

This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expandi Read More...

This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music to be enjoyed by a chamber group. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the clarinet in Bb player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a bass clarinet and require just the piano sounding in the accompaniment. Close

Study in Canon No.6 Opus 56 arr. soprano saxophone, tenor saxophone and piano

This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expandi Read More...

This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music to be enjoyed by a chamber group. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on our PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the soprano saxophone player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a tenor saxophone and require just the piano sounding in the accompaniment. Close

Study in Canon No.6 Opus 56 arr. oboe, violoncello and piano

T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different ins Read More...

T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different instrument combinations. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. The final chord should be spread evenly from the lowest to the highest sound in the piano part. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the oboe player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a cellist and require just the piano sounding in the accompaniment. Close

Study in Canon No.3 Opus 56 arr. oboe, clarinet in A and piano

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. An oboe substitutes for the violin and a clarinet in A for the violoncel Read More...

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. An oboe substitutes for the violin and a clarinet in A for the violoncello. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef. The accompaniment downloads available enable players to enjoy an ensemble music experience playing oboe part. the Primo or Secondo parts. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close

Study in Canon No.3 Opus 56 arr. 2 clarinets in A and piano

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. Two clarinets in A substitute for the violin and the violoncello. The mu Read More...

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. Two clarinets in A substitute for the violin and the violoncello. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef. The accompaniment downloads available enable players to enjoy an ensemble music experience playing the first clarinet in A part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close

Study in Canon No.3 Opus 56 arr. flute, clarinet in A and piano

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin and the clarinet in A for the viol Read More...

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin and the clarinet in A for the violoncello. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef. The accompaniment downloads available enable players to enjoy an ensemble music experience playing the flute part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close

Study in Canon No.3 Opus 56 arr. clarinet in A, violoncello and piano

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The clarinet in A substitutes for the violin in this particular arrangem Read More...

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The clarinet in A substitutes for the violin in this particular arrangement. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef. The accompaniment downloads available enable players to enjoy an ensemble music experience playing the clarinet in A part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Study in Canon No.3 Opus 56 arr. violin, violoncello and piano

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The music opens and closes with an Andantino section that plays back at Read More...

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef. The accompaniment downloads available enable players to enjoy an ensemble music experience playing the violin part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a practical solution for players. Close

Study in Canon No.3 Opus 56 arr. flute, violoncello and piano

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin in this particular arrangement with Read More...

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin in this particular arrangement with some re-scoring of the fluteto keep to the instruments range. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef. The accompaniment downloads available enable players to enjoy an ensemble music experience playing the flute part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close

Study in Canon No.3 Opus 56 arr. oboe, violoncello and piano

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The oboe substitutes for the violin in this particular arrangement with Read More...

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The oboe substitutes for the violin in this particular arrangement with some re-scoring of the oboe and violoncello part towards the end of the movement. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef. The accompaniment downloads available enable players to enjoy an ensemble music experience playing the oboe part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close

Study in Canon No. 2 violin, violoncello and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this his original arrangement for violin, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. Parts for both violin and violoncello are appended to the full score. The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 66 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the flute part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in featuring the sound of the woodblock. Close

Study in Canon No. 2 soprano saxophone, tenor saxophone and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for soprano saxophone, tenor saxophone and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the soprano saxophone part to accommodate the range of the instrument. Parts for both saxophones appropriately transposed are appended to the full score. The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays back at 63 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the soprano saxophone as a solo. The piano and tenor saxophone sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close

Study in Canon No. 2 soprano saxophone, baritone saxophone and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for soprano saxophone, baritone saxophone and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the soprano saxophone part to accommodate the range of the instrument. Parts for both saxophones appropriately transposed are appended to the full score. The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays back at 63 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the soprano part as a solo. The piano and baritone saxophone sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close

Study in Canon No. 2 oboe, bassoon and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for oboe, bassoon and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the oboe part needed to keep to the range of the instrument and some minor re-scoring of the parts in bar 51. Parts for the oboe and bassoon are appended to the full score. The realisation plays back at 63 dotted quarter note (crotchet) beats to the minute. The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 66 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the oboe part as a solo. The piano and bassoon sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in utilising the sound of a woodblock. Close

Study in Canon No. 2 clarinet in B Flat, bass clarinet and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for clarinet in Bb, bass clarinet and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the flute part to accommodate the range of the instrument. Parts for the clarinet in Bb and bass clarinet appropriately transposed are appended to the full score. The music editor would like to hear from bass clarinet players as to the practicality of playing the low notes in the score. The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 66 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the clarinet in Bb part as a solo. The piano and bass clarinet sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close

Study in Canon No. 2 flute, violoncello and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for flute, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the flute part to accommodate the range of the instrument. Parts for the flute and violoncello are appended to the full score. The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 66 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the flute part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close

Study in Canon No. 2 clarinet in B Flat, violoncello and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for clarinet in Bb, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the clarinet in Bb part to assist in keeping to the range of the instrument. Parts for the clarinet in Bb and violoncello are appended to the full score. The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 63 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the oboe part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in featuring the sound of a woodblock. Close

Study in Canon No. 2 oboe, violoncello and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for oboe, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the oboe part t needed to keep to the range of the instrument and some minor re-scoring of the parts in bar 51. Parts for the oboe and violoncello are appended to the full score. The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 66 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the oboe part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in utilising the sound of a woodblock. Close

Study in Canon No. 4 violin, violoncello and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation simply because of personal fa Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation simply because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for violin, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German word ‘Innig’ which means ‘heartfelt’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 72 eighth (quaver) notes to the minute in the first section from bar 1 to 19 and then 80 eighth notes for the remainder of the movement with the occasional slowing down or rit. The performance practice associated with the Study in Canon No. 4 also varies adding further interest to the music’s study. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. Managing the tempo through the playing of the whole piece is one of the challenges of a performance and more than one approach can be employed. The dynamic range is an additional aspect of the performance that can be explored. It is necessary to have an understanding of the strong chromatic element in the music which is particularly evident in the bass line and the chordal accompaniment. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. Players need to pay attention to the rhythmic detail and the chromatic detail. The mordents have been written out in the video score which can be viewed on our YouTube channel although symbols are used in the sheet music score. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. The small decorative notes in the turns in bars 17, 19 and 65 do not sound in the video score or realisation. Instrument players will need to ensure that the reading of the notes and accidentals is accurate as the chromatic element is a strong feature There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. There are many recordings to explore of the trio arrangements and it would be well worth some time listening to a sample of the different versions that exist. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the violon part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 68 eighth (quaver) note beats to the minute in the first section and then 72 eighth (quaver) note beats to the minute from bar 20. Accompaniment 2 plays at 72 eighth (quaver) note beats to the minute in the first section and then 80 eighth (quaver) note beats to the minute. Accompaniment 3 plays at 76 eighth (quaver) note beats to the minute in the first section and 84 eighth (quaver) note beats to the minute. Accompaniment 4 plays at 80 eighth (quaver) note beats to the minute in the first section and 88 eighth (quaver) note beats to the minute. Accompaniment 5 plays at 84 eighth (quaver) note beats to the minute in the first section and 92 eighth (quaver) note beats to the minute. There is a two bar eighth note (quaver) count in to the sound of a woodblock. Close

Study in Canon No. 4 clarinet in B Flat, violoncello and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation simply because of personal fa Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation simply because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for clarinet in Bb, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German word ‘Innig’ which means ‘heartfelt’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 72 eighth (quaver) notes to the minute in the first section from bar 1 to 19 and then 80 eighth notes for the remainder of the movement with the occasional slowing down or rit. The performance practice associated with the Study in Canon No. 4 also varies adding further interest to the music’s study. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. Managing the tempo through the playing of the whole piece is one of the challenges of a performance and more than one approach can be employed. The dynamic range is an additional aspect of the performance that can be explored. It is necessary to have an understanding of the strong chromatic element in the music which is particularly evident in the bass line and the chordal accompaniment. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. Players need to pay attention to the rhythmic detail and the chromatic detail. The mordents have been written out in the video score which can be viewed on our YouTube channel although symbols are used in the sheet music score. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. The small decorative notes in the turns in bars 17, 19 and 65 do not sound in the video score or realisation. Instrument players will need to ensure that the reading of the notes and accidentals is accurate as the chromatic element is a strong feature There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. There are many recordings to explore of the trio arrangements and it would be well worth some time listening to a sample of the different versions that exist. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the clarinet in Bb part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 68 eighth (quaver) note beats to the minute in the first section and then 72 eighth (quaver) note beats to the minute from bar 20. Accompaniment 2 plays at 72 eighth (quaver) note beats to the minute in the first section and then 80 eighth (quaver) note beats to the minute. Accompaniment 3 plays at 76 eighth (quaver) note beats to the minute in the first section and 84 eighth (quaver) note beats to the minute. Accompaniment 4 plays at 80 eighth (quaver) note beats to the minute in the first section and 88 eighth (quaver) note beats to the minute. Accompaniment 5 plays at 84 eighth (quaver) note beats to the minute in the first section and 92 eighth (quaver) note beats to the minute. There is a two bar eighth note (quaver) count in to the sound of a woodblock. Close

Study in Canon No. 4 flute, violoncello and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation simply because of personal fa Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation simply because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for flute, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German word ‘Innig’ which means ‘heartfelt’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 72 eighth (quaver) notes to the minute in the first section from bar 1 to 19 and then 80 eighth notes for the remainder of the movement with the occasional slowing down or rit. The performance practice associated with the Study in Canon No. 4 also varies adding further interest to the music’s study. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. Managing the tempo through the playing of the whole piece is one of the challenges of a performance and more than one approach can be employed. The dynamic range is an additional aspect of the performance that can be explored. It is necessary to have an understanding of the strong chromatic element in the music which is particularly evident in the bass line and the chordal accompaniment. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. Players need to pay attention to the rhythmic detail and the chromatic detail. The mordents have been written out in the video score which can be viewed on our YouTube channel although symbols are used in the sheet music score. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. The small decorative notes in the turns in bars 17, 19 and 65 do not sound in the video score or realisation. Instrument players will need to ensure that the reading of the notes and accidentals is accurate as the chromatic element is a strong feature There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. There are many recordings to explore of the trio arrangements and it would be well worth some time listening to a sample of the different versions that exist. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the flute part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 68 eighth (quaver) note beats to the minute in the first section and then 72 eighth (quaver) note beats to the minute from bar 20. Accompaniment 2 plays at 72 eighth (quaver) note beats to the minute in the first section and then 80 eighth (quaver) note beats to the minute. Accompaniment 3 plays at 76 eighth (quaver) note beats to the minute in the first section and 84 eighth (quaver) note beats to the minute. Accompaniment 4 plays at 80 eighth (quaver) note beats to the minute in the first section and 88 eighth (quaver) note beats to the minute. Accompaniment 5 plays at 84 eighth (quaver) note beats to the minute in the first section and 92 eighth (quaver) note beats to the minute. There is a two bar eighth note (quaver) count in to the sound of a woodblock. Close

Study in Canon No. 4 oboe, violoncello and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation simply because of personal fa Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation simply because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for oboe, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German word ‘Innig’ which means ‘heartfelt’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 72 eighth (quaver) notes to the minute in the first section from bar 1 to 19 and then 80 eighth notes for the remainder of the movement with the occasional slowing down or rit. The performance practice associated with the Study in Canon No. 4 also varies adding further interest to the music’s study. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. Managing the tempo through the playing of the whole piece is one of the challenges of a performance and more than one approach can be employed. The dynamic range is an additional aspect of the performance that can be explored. It is necessary to have an understanding of the strong chromatic element in the music which is particularly evident in the bass line and the chordal accompaniment. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. Players need to pay attention to the rhythmic detail and the chromatic detail. The mordents have been written out in the video score which can be viewed on the YouTube channel although symbols are used in the sheet music score. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. The small decorative notes in the turns in bars 17, 19 and 65 do not sound in the video score or realisation. Instrument players will need to ensure that the reading of the notes and accidentals is accurate as the chromatic element is a strong feature There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. There are many recordings to explore of the trio arrangements and it would be well worth some time listening to a sample of the different versions that exist. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the oboe part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 68 eighth (quaver) note beats to the minute in the first section and then 72 eighth (quaver) note beats to the minute from bar 20. Accompaniment 2 plays at 72 eighth (quaver) note beats to the minute in the first section and then 80 eighth (quaver) note beats to the minute. Accompaniment 3 plays at 76 eighth (quaver) note beats to the minute in the first section and 84 eighth (quaver) note beats to the minute. Accompaniment 4 plays at 80 eighth (quaver) note beats to the minute in the first section and 88 eighth (quaver) note beats to the minute. Accompaniment 5 plays at 84 eighth (quaver) note beats to the minute in the first section and 92 eighth (quaver) note beats to the minute. There is a two bar eighth note (quaver) count in to the sound of a woodblock. Close

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

Manchega arr. flute, acoustic guitar & violoncello

This music was published in 1860. This arrangement for flute, acoustic guitar and violoncello playing pizzicato has a playback tempo of 60 dotted qu Read More...

This music was published in 1860. This arrangement for flute, acoustic guitar and violoncello playing pizzicato has a playback tempo of 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in D and the B section in F. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. Gottschalk’s music is influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore articulation, tonal quality and dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows ready access to the music. Individual parts for the three instruments are appended to the full score The small ornamental notes in the flute part (acciaccaturas or crushed notes) should be omitted whilst the movement is being learnt. It is then up to the player’s own discretion as whether to play them or not. Accompaniments have not been prepared for this arrangement. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts aka working hard. Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close

Manchega arr. flute & two acoustic guitars

The music arranger is amazed that this piece of music was published in 1860! This arrangement for flute and two acoustic guitars has a plays back temp Read More...

The music arranger is amazed that this piece of music was published in 1860! This arrangement for flute and two acoustic guitars has a plays back tempo of 58 dotted quarter note (crotchet) beats to the minute in the realisation. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in D and the B section in F. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The writing of Gottschalk is strongly influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the tonal range and dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows ready access to the music. Individual parts for the three instruments are appended to the full score. The small ornamental notes – acciaccaturas or crushed notes in the flute part but not the appoggiatura do not sound in the realization. The two acoustic guitar parts are available as accompaniments and can be downloaded as mp3 files at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts in what was a very hard working life. Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close

Tico-Tico arr. marimba and acoustic guitar + TAB

In this arrangement of Tico-Tico for marimba and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 qua Read More...

In this arrangement of Tico-Tico for marimba and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. The appended part for the acoustic guitar also has a TAB chart to support the conventionally notated copy. The piece is structured into three sections and formally can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version and is a piece that has travelled widely in various formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Accompaniments featuring the acoustic guitar can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute. Close

Tico-Tico arr. marimba and acoustic guitar

In this arrangement of Tico-Tico for marimba and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 qua Read More...

In this arrangement of Tico-Tico for marimba and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. This syncopated piece is structured into three sections which can be represented formally as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Both players are required to play from the full score. Accompaniments featuring the acoustic guitar can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute. Close

None but the Lonely Heart arr. flute, marimba & acoustic guitar

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for flute accompan Read More...

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for flute accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the flute player to develop both control and quality of tone in their playing. The accompaniment comprising marimba and acoustic guitar with off-beat or syncopated chords adds both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece. Close

None but the Lonely Heart arr. oboe, marimba & acoustic guitar

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for oboe accompani Read More...

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for oboe accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the oboe player to develop both control and quality of tone in their playing. The accompaniment comprises marimba and acoustic guitar with off-beat or syncopated chords adds both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece. Close

None but the Lonely Heart arr. violin, marimba & acoustic guitar

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin accompa Read More...

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the violin player to develop both control and quality of tone in their playing. The accompaniment comprises marimba and acoustic guitar with off-beat or syncopated chords adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece. Close

None but the Lonely Heart arr. viola, marimba & acoustic guitar

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for viola accompan Read More...

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for viola accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the viola player to develop both control and quality of tone in their playing. The accompaniment comprises marimba and acoustic guitar with off-beat or syncopated chords adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute as an mp3 download. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece. Close

None but the Lonely Heart arr. violin & two acoustic guitars

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin and two Read More...

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the soloist to develop both control and quality of tone in their playing. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 92 (2) 90 (3) 88 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music and the music editor suggests that this is an excellent assessment piece. Close

None but the Lonely Heart arr. viola & two acoustic guitars

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for viola and two Read More...

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for viola and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the soloist to develop both control and quality of tone in their playing. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 92 (2) 90 (3) 88 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music and the music editor suggests that this is an excellent assessment piece. Close

None but the Lonely Heart arr. oboe & two acoustic guitars

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for oboe and two a Read More...

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for oboe and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the soloist to develop both control and quality of tone in their playing. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 92 (2) 90 (3) 88 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music and the music editor suggests that this is an excellent assessment piece. Close

None but the Lonely Heart arr. flute & two acoustic guitars

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for flute and two Read More...

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for flute and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the flute soloist to develop both control and quality of tone. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 92 (2) 90 (3) 88 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a both considerable musical and emotional range which suggests that this is an excellent assessment piece. Close

Odeon arr. flute, acoustic guitar and string bass

This arrangement of Odeon for flute, acoustic guitar and string/upright bass is a lively rhythmic movement full of energy featuring many syncopated pa Read More...

This arrangement of Odeon for flute, acoustic guitar and string/upright bass is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed up a semitone and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The three individual instrument parts are also appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling or swaying in a dance context. The acoustic guitar and string bass as accompanying instruments needs to be played quite percussively communicate the energy of the movement. There are accompaniments featuring acoustic guitar and string bass available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close

Odeon arr. marimba, acoustic guitar and string bass

This arrangement of Odeon for marimba, acoustic guitar and string/upright bass is a lively rhythmic movement full of energy featuring many syncopated Read More...

This arrangement of Odeon for marimba, acoustic guitar and string/upright bass is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed up a semitone and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The three individual instrument parts are also appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling or swaying in a dance context. The acoustic guitar and string bass as accompanying instruments needs to be played quite percussively communicate the energy of the movement. There are accompaniments featuring acoustic guitar and string bass available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close

Sweet Dreams arr. violin & acoustic guitar

An arrangement for violin accompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is Read More...

An arrangement for violin accompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase requiring a singing legato tone when performed. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. Whilst described as an improver level piece the guitar player’s part is obviously harder than the flute players. There are three guitar accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close

Sweet Dreams arr. oboe & acoustic guitar

An arrangement for oboeaccompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a Read More...

An arrangement for oboeaccompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase requiring a singing legato tone when performed. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. There are three guitar accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close

Sweet Dreams arr. flute & acoustic guitar

An arrangement for flute accompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is Read More...

An arrangement for flute accompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase requiring a singing legato tone when performed. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. Whilst described as an improver level piece the guitar player’s part is obviously harder than the flute players. There are three guitar accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close

Norwegian Dance No.2 arr. oboe & acoustic guitar

An arrangement for oboe and acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back at Read More...

An arrangement for oboe and acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. The humour in the music also invites an exaggerated performance although this is not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the oboe melody. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. Acoustic guitar accompaniments are available with the following tempo options (1) 68/108/68 (2) 66/112/66 (3) 64/112/64 Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close

Norwegian Dance No.2 arr. violin & acoustic guitar

An arrangement for violin and acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back a Read More...

An arrangement for violin and acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. The humour in the music also invites an exaggerated performance although this is not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. Acoustic guitar accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68 Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close

Tarantella arr. marimba & acoustic guitar

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passion Read More...

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for marimba and acoustic guitar has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have contributed music to the tarantella repertoire. Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute. Close

Tarantella arr. violin & acoustic guitar

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passion Read More...

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for violin and acoustic guitar has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have also contributed music to the tarantella repertoire. . Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute. Close

Tarantella arr. flute & acoustic guitar

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passion Read More...

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for flute and acoustic guitar has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have contributed music to the tarantella repertoire. Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute. Close

Shenadoah arr. violin & acoustic guitar

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 violin accompanied by acoustic guitar. The playback tempo is 84 quarter note beats to the minute and violinist has the option of playing back the repeat at the octave. Close

Shenadoah arr. flute & acoustic guitar

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 flute accompanied by acoustic guitar. The playback tempo is 84 quarter note beats to the minute. Close

Shenadoah arr. violin & acoustic guitar + TAB

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 violin accompanied by acoustic guitar. The playback tempo is 84 quarter note beats to the minute and violinist has the option of playing back the repeat at the octave. This score has the acoustic guitar part in both conventional notation and TAB. Close

Shenadoah arr. flute & acoustic guitar +TAB

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 flute accompanied by acoustic guitar. The playback tempo is 84 quarter note beats to the minute. This score has the acoustic guitar part in both conventional notation and TAB. Close

La biondina in gondoleta arr. violin & acoustic guitar

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Read More...

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for violin accompanied by acoustic guitar sounding in the key of G with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. This is an excellent performance piece because the melody is appealing and familiar. The violin player has the option of playing the repeat at the octave although this is not indicated in the score. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. Close

La biondina in gondoleta arr. oboe & acoustic guitar

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Read More...

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for oboe accompanied by acoustic guitar sounding in the key of G with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. This is an excellent performance piece because the melody is appealing and familiar.. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. Close

La biondina in gondoleta arr. flute & acoustic guitar

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Read More...

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for flute accompanied by acoustic guitar sounding in the key of G with the realisation playing back at a tempo of 63 dotted quarter note (crotchet)beats to the minute. This is an excellent performance piece because the melody is appealing and familiar. The flute player has the option of playing the repeat at the octave. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. Close

When The Saints Go Marching In arr. flute, acoustic guitar and bass guitar

When The Saints Go Marching In arranged for flute, acoustic guitar and string bass in the key of D. The playback tempo is 100 half note or minim beat Read More...

When The Saints Go Marching In arranged for flute, acoustic guitar and string bass in the key of D. 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 bass 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. The flute has the option of playing the repeat at the octave as indicated in the score. Chords have also been indicated in the guitar score and there is a TAB score for the bass guitarist. Individual parts are also appended to the full score. The accompaniment score available plays back at 100 half note/minim beats to the minute. Close

When The Saints Go Marching In arr. marimba, acoustic guitar and bass guitar

When The Saints Go Marching In arranged for pitched percussion (marimba), acoustic guitar and bass guitar in the key of D. The playback tempo is 100 Read More...

When The Saints Go Marching In arranged for pitched percussion (marimba), acoustic guitar and bass guitar in the key of D. 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 bass 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. The marimba player has the option of playing the repeats an octave higher whilst chords shapes have been indicated in the guitar score and the bass guitar is notated both conventionally and TAB. Individual parts are appended to the full score. The accompaniment mp3 features a string bass in the playback. Close

When The Saints Go Marching In arr. violin, acoustic guitar and bass guitar (with TAB)

When The Saints Go Marching In arranged for violin, acoustic guitar and bass guitar in the key of D. The playback tempo is 100 half note or minim bea Read More...

When The Saints Go Marching In arranged for violin, acoustic guitar and bass guitar in the key of D. 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 bass 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. The violinist has the option of playing the repeat at the octave as indicated in the score. Chords have also been indicated in the guitar score and there is a TAB score for the bass guitarist. Individual parts are also appended to the full score. The accompaniment mp3 features a string bass in the playback. Close

The Happy Farmer arr. violin, acoustic guitar & string bass

A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting mo Read More...

A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for violin accompanied by acoustic guitar and string bass. There is a two bar click count in on the accompaniment track. A bass guitar can be used if available. Close

The Happy Farmer arr. flute, acoustic guitar & string bass

A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting wi Read More...

A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for flute accompanied by acoustic guitar and upright or string bass. There is a two bar click count in on the accompaniment track. A bass guitar can be substituted for the string bass. Close

The Last Rose of Summer arr. flute & acoustic guitar + TAB

This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Read More...

This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A guitar accompaniment is also available for this score and for the guitarist there is a both a TAB and notated music score. Close

The Last Rose of Summer arr. violin & acoustic guitar

This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Read More...

This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A guitar accompaniment is also available for this score. Close

The Last Rose of Summer arr. flute & acoustic guitar

This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Read More...

This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A guitar accompaniment is also available for this score. Close

The Last Rose of Summer arr. tin whistle & acoustic guitar

This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Read More...

This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A guitar accompaniment is also available for this score. Close

Sonata in G minor C.61 arr. flute and classical/acoustic guitar

Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembe Read More...

Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembered particularly for his operas. His keyboard music is played on both the piano and the harpsichord and several pieces in more recent times have been transcribed for the classical guitar. In this arrangement for flute and classical guitar of his Sonata in G minor C.61 marked Adagio ma non troppo the flute melody need to be played legato. Players need to have a keen awareness of the eighth note or quaver pulse whilst the realisation plays at 42 quarter (crotchet) beats to the minute. The repetitive element in the music is strong and the ornaments have been written out in this video score. There is the opportunity to linger at the end of phrases but any exaggeration of the music whether in respect to rhythm, dynamic and melody needs to be avoided. Close

Pieds-en-l’air arr flute acoustic guitar and string bass

This is an excellent ensemble piece although there are particular challenges for the guitar player playing the inner lines. It is a challenging piece Read More...

This is an excellent ensemble piece although there are particular challenges for the guitar player playing the inner lines. It is a challenging 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 trio to play this piece perfectly in tune 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. Individual parts for the three instruments 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

Neapolitan Song arr. violin & acoustic guitar

This is an improver level arrangement for violin and acoustic guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Read More...

This is an improver level arrangement for violin and acoustic guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is based on the version found in Tchaikovsky’s Children’s Album Opus 39 for piano that dates from 1878. The tempo of the first section Andantino in the realisation is 100 quarter note (crotchet) beats to the minute and for the Vivace section the tempo is 120 quarter note beats to the minute. The voicing of the chord shapes for the acoustic guitar have been edited. Close

Neapolitan Song arr. flute & acoustic guitar

This is an improver level arrangement for flute and guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III o Read More...

This is an improver level arrangement for flute and guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is based on the version found in Tchaikovsky’s Children’s Album Opus 39 for piano that dates from 1878. The tempo of the first section Andantino in the realisation is 100 quarter note (crotchet) beats to the minute and for the Vivace section the tempo is 120 quarter note beats to the minutes. The voicing of the chord shapes for the acoustic guitar have been edited. For flute players who need an additional challenge there is an intermediate arrangement for the instrument with a piano accompaniment. Close

Sururú na Cidade arr. 2 marimba & string/upright bass

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Read More...

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. In this arrangement for flute, acoustic guitar and string/upright bass individual parts are appended to the full score. There are particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for two marimba players and upright/string bass individual parts for the three instruments are appended to the full score. Close

Sururú na Cidade arr. flute, acoustic guitar & string/upright bass

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Read More...

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. In this arrangement for flute, acoustic guitar and string/upright bass individual parts are appended to the full score. There are particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for flute, acoustic guitar and upright/string bass individual parts for the three instruments are appended to the full score. The acoustic guitar part plays a combination of countermelodies and chords. Close

Sururú na Cidade arr. marimba, acoustic guitar & string/upright bass

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Read More...

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. In this arrangement for mandolin, acoustic guitar and string/upright bass individual parts are appended to the full score. There are particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for marimba, acoustic guitar and upright/string bass individual parts for the three instruments are appended to the full score. The acoustic guitar part plays a combination of countermelodies and chords. Close

No Bailes Más! (Dance No More) arr. marimba, acoustic guitar & string/upright bass

This is an arrangement for marimba, acoustic guitar and upright often described as string bass with the score formatted as a one document pdf file wit Read More...

This is an arrangement for marimba, acoustic guitar and upright often described as string bass with the score formatted as a one document pdf file with individual parts for the three 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 and plays back 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 features strongly in what is a sunny piece. Close

Off To California arr. flute & acoustic guitar

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 se 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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as dance sets. In this two part arrangement for flute and acoustic guitar, the flute plays the melody and the guitarist accompanies with chords. 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 in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed as such by the instrument being played, the music tradition 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 guitar accompaniments are available, with repeats, playing chords 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. tin whistle in G & acoustic guitar

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 se 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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for tin whistle in G and acoustic guitar, the tin whistle plays the melody and the guitarist accompanies with chords. 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 in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition 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 guitar accompaniments are available, with repeats, playing chords 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. tenor recorder & acoustic guitar

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 se 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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for tenor recorder and acoustic guitar, the recorder plays the melody and the guitarist accompanies with chords. 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 in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition 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 guitar accompaniments are available, with repeats, playing chords 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. violoncello & acoustic guitar

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

This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for violoncello and acoustic guitar is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and 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. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. Close

Swing Low, Sweet Chariot arr. violin & acoustic guitar

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

This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for violin and acoustic guitar is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and 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. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. The violin player has the option of playing the repeat of the chorus at the octave. Close

Swing Low, Sweet Chariot arr. oboe & acoustic guitar

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

This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for oboe and acoustic guitar is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and 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. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. Close

Swing Low, Sweet Chariot arr. flute & acoustic guitar

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

This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for flute and acoustic guitar is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and 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. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. The flute player has the option of playing the repeat of the chorus at the octave. Close

Skye Boat Song arr. pitched percussion (marimba) & guitar

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Princ Read More...

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The marimba player has the option of playing the repeat chorus at the octave. There is also supporting TAB for the guitar player. There are three guitar accompaniments available at tempi of (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close

Skye Boat Song arr. flute & acoustic guitar

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Princ Read More...

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. There is supporting TAB for the guitar player. There are three accompaniments featuring an acoustic guitar playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close

Skye Boat Song arr. flute & two acoustic guitars

In this arrangement for flute accompanied by two acoustic guitars, one guitar plays chords with standard guitar tuning whilst the other has its sixth Read More...

In this arrangement for flute accompanied by two acoustic guitars, one guitar plays chords with standard guitar tuning whilst the other has its sixth string tuned to D, (usually described as dropped down D tuning) and plays a patterned accompaniment. This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time. In this arrangement the accompanying chords have been updated to make the setting more contemporary. There is no introduction in order to keep the phrase structure balanced. There are three accompaniments featuring two acoustic guitars playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close

Czardas arr. flute & guitar

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Read More...

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” which is appropriate near the end of a section and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves.There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The dynamic range in the realisation is not expressed quite as well as was intended. There are two acoustic guitar accompaniments available (1) with repeats and (2) without repeats. Close

Czardas arr. marimba & acoustic guitar

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Read More...

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the section between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The arrangement in the music editor’s view works well for the instrument combination and would be interested in receiving feedback. There are two acoustic guitar accompaniments available (1) with repeats and (2) without repeats. Close

Czardas arr. violin & acoustic guitar

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Read More...

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the section between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! There are two acoustic guitar accompaniments available (1) with repeats and (2) without repeats. Close

Al Fresco arr. bassoon & guitar

Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Read More...

Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to change the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. The bassoon and guitar part share a score and the guitarist may want to simply some of the chord voicing particularly if the piece is being played at a fast tempo. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. Close

Al Fresco arr. marimba & guitar

Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Read More...

Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to change the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. The marimba and guitar part share a score and the guitarist may want to simply some of the chord voicing particularly if the piece is being played at a fast tempo. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. For the pitched percussionist the music editor has avoided using tremolos on the half notes in bars 25 and 26 (+ repeats of these bars through the piece) although players may well want to use this technique in a performance. Close

Al Fresco arr. flute & guitar

Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early Read More...

Described as an Intermezzo this is a piece of music intended to change the mood usually having a context in a larger scale work. Dating from the early years of the 20th century this is a skillfully composed piece of music and whilst presented in this context as a serious piece it could quite easily be presented as a humorous item with exaggerated tempo changes and more contrasting dynamics. The realization plays at a tempo of 96 quartet note beats to the minute although there are recorded versions that exist with much faster tempos. Tempo changes are only indicated in the closing section and not at the end of phrases and sections. The step downs in tempo at bar 121 and bar 129 need to be quite obvious. The formal model is clearly that of the American march and it can be best described as an example of early “light music.” As a piece intended to change the mood it is ideally placed as part of the repertoire in the PlentyMusic Café. The flute and guitar part share a score and the guitarist may want to simply some of the chord voicing particularly if the piece is being played at a fast tempo. Victor Herbert was born in Ireland, and after subsequently training and working in Germany he moved to the United States to become a very successful composer of Broadway operettas in the period between 1890 and the start of World War I in 1914. This is music that invites exaggeration in performance and the more competent the risk taker the more likely they are to succeed providing they have both the communication and technical skills to ensure success. Close

Sicilienne arr. flute & guitar

A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig Read More...

A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the score the most appropriate ranges of the instruments are explored and consequently there has been some simplifying of the texture in the guitar writing. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. In this arrangement A minor is the chosen key although G minor is the natural and most appropriate key for the work. G minor is however a challenging key for the guitar player whilst the work is definitely playable in A minor. The music editor would appreciate receiving an informed opinion about key options for this work and would advise that some of the chord voicing may need to further simplified.Guitar accompaniments are available at playing at 54, 50 and 48 dotted quarter note (crotchet) beats to the minute. Close

Cantabile arr. flute, acoustic guitar & bass

This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers t Read More...

This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers to explore tonal range of an instrument. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. Individual parts are appended to the full score. Close

Cantabile arr. violin, acoustic guitar & bass

This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers t Read More...

This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers to explore tonal range of an instrument. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. Individual parts are appended to the full score Close

Cantabile arr. flute, acoustic guitar & bass

This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers t Read More...

This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers to explore tonal range of an instrument. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. Individual parts are appended to the full score Close

Cantabile arr. flute & guitar

This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the o Read More...

This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of an instrument. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. Close

Cantabile arr. violin & guitar

This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the o Read More...

This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of the violin. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. Close

Cantabile arr. violoncello + acoustic guitar

This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the o Read More...

This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of the instrument. The violoncello part is notated in the tenor clef whilst triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable for a range of instruments. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. Close

First Movement from Keyboard Sonata in C (Illy No. 27) arr. flute and acoustic guitar

Galuppi was an Italian composer very much associated with the city of Venice and in his life time was known particularly for his comic operas. He was Read More...

Galuppi was an Italian composer very much associated with the city of Venice and in his life time was known particularly for his comic operas. He was a fine keyboard player and as a composer is associated with the “style galant.” movement which was an important artistic movement in the 19th century. As a result of Napoleon’s invasion of Venice in 1797 many of the composer’s manuscripts were lost. This piece that has charm and beauty reminiscent of a slow movement from a Mozart keyboard sonata. The ornaments comprise acciaccaturas (crushed notes) appoggiaturas (leaning notes) mordents and trills. The mordent is a simple note, note above, repeat of note device whilst the trills beginning on the note are longer and need to played so that the symmetry and shape of the music is maintained. There are some trills that start on the note above but these are indicated in the score. Understand that no two performers play the ornaments in the same way. A further complication is the same ornament may actually be played differently in a performance or recording and on the playing of the repeat sections additional ornaments can be added at the player’s discretion. The best advice is that if some of the ornaments are difficult to deliver leave them out but be consistent in your approach. The sheet music download comprises both a performance score and an appended realisation/recording score of the flute part to enable players to understand how the ornaments are to be played. In time, when players have an understanding of the style of this music they may well want to revise and even expand on how the ornaments are played. The tempo of the realisation is 50 quarter note (crotchet) beats to the minute and whilst the repeats are indicated in the scores they do not sound in the recording. Close

Serenade (Petite Suite) arr. marimba & two acoustic guitars

Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Read More...

Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and well suited to being played on an instrument like the guitar with dropped d tuning on the sixth string. There is a strong melodic element in this miniature explores quite a melodic range. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. Individual instrument parts are also appended to the full score. Close

The Easy Winners arr. marimba and acoustic guitar

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement marimba and acoustic guita Read More...

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement marimba and acoustic guitars in G the realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. Individual instrument parts are appended to the full score and there is an ossia staff for the marimba player to consider. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented by letters as Intro AA BB AA Link CC DD. Guitar accompaniments (Acoustic Guitar 2 sounding) are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning. Close

The Easy Winners arr. marimba, two guitars and acoustic or electric bass

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for marimba, two guitars a Read More...

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for marimba, two guitars and acoustic or electric bass in G the realisation tempo is 76 quarter quarter note beats to the minute whilst the repeats are not played. Individual instrument parts are appended to the full score. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally follow the structure of the typical American March which can be represented by letters as I AA BB AA CC DD. Close

Plaisir d’amour arr. flute & acoustic guitar in G

This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Read More...

This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option. This is an excellent piece of music to explore performing at a slow music tempo. I would suggest listening to a number of recordings of performances particularly by singers to gain an understanding of how music can be performed. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. The small acciaccatura (crushed notes) do not sound in the realisation Close

Plaisir d’amour arr. violin & acoustic guitar in G

This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Read More...

This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option. This is an excellent piece of music to explore performing at a slow music tempo. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. Listen to a number of recordings of performances particularly by singers to gain an understanding of how music can be arranged. The small acciaccatura (crushed notes) do not sound in the realisation. Close

Jeanie with the light brown hair arr. violin & acoustic guitar

This is an arrangement for a duo comprising flute and acoustic guitar of a parlour song by Stephen Foster dating from 1854 and whilst it has become a Read More...

This is an arrangement for a duo comprising flute and acoustic guitar 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. Close

Jeanie with the light brown hair arr. flute & acoustic guitar

This is an arrangement for a duo comprising flute and acoustic guitar of a parlour song by Stephen Foster dating from 1854 and whilst it has become a Read More...

This is an arrangement for a duo comprising flute and acoustic guitar 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. Close

Jeanie with the light brown hair arr. flute, acoustic guitar & bass

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 Fos Read More...

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 and bass could be either an electric or acoustic instrument. Close

The Teddy Bears Picnic arr. flute, acoustic guitar & double bass

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Read More...

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for flute, acoustic guitar and bass (electric or upright) in the key of C a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as demonstrated in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. In this realisation note that an upright bass is used but this can be easily substituted. Close

The Teddy Bears Picnic arr. marimba & acoustic guitar

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this ar Read More...

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this arrangement for a pitched percussion instrument (marimba, vibraphone, etc) in the key of C accompanied by an acoustic guitar a tempo of 96 dotted quarter notes is used in the realisation. Players can chose to play a shortened form ending on the first eighth note (quaver) of bar 88. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. The music for the two players parts are both shown in full score. There are three acoustic guitar 2 accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close

The Teddy Bears Picnic arr. flute & acoustic guitar

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this ar Read More...

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this arrangement for flute and acoustic guitar in the key of C a tempo of 96 dotted quarter notes is used in the realisation. Players can chose to play a shortened form ending on the first eighth note (quaver) of bar 88. There isn' too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. The flute and guitar parts are shown in full score. The music for the two players parts are both shown in full score. There are three acoustic guitar 2 accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close

Dedicatoria arr. flute & acoustic guitar

A short but quite charming piece from the composer's Opus 1 collection.The tempo of the realisation is 62 quarter note (crotchet) beats to the minute Read More...

A short but quite charming piece from the composer's Opus 1 collection.The tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up. 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

Spring Song arr. violin, acoustic guitar & violoncello

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Read More...

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. The violoncello is to play pizzicato in the arrangement. Close

Spring Song arr. mandolin, acoustic guitar & bass

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Read More...

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. The bass can either be acoustic or electric as for that matter can the guitar. Close

Spring Song arr. flute, acoustic guitar & bass

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Read More...

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. The bass can either be acoustic or electric as for that matter can the guitar. Close

Spring Song arr. accordion, acoustic guitar & bass

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Read More...

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Close

Spring Song arr. violin & acoustic guitar

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Read More...

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Close

Spring Song arr. tenor recorder & acoustic guitar

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Read More...

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. The acoustic guitar is a much more appropriate accompanying instrument for the recorder than the piano. Close

Spring Song arr. marimba & acoustic guitar

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Read More...

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Interestingly, The acoustic guitar is a more appropriate accompanying instrument than the piano. Close

Spring Song arr. flute & guitar

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Read More...

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Close

Waltz in A minor arr. violin & acoustic guitar

A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs Read More...

A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs a needs to be played with a slight speeding up and slowing down of the tempo at appropriate places in the score which is described as tempo rubato and features in much of the best Chopin playing. Understand that the realisation doesn't apply rubato in a totally satisfactory way. The octave section that features in the melody of the piano score has not be transferred to the instrument writing in the arrangements. In Bar 21 the triplet option sounds in the realisation whilst the trill in the penultimate bar begins on the lower note and in the realisation 7 notes are sounded. The original piano work does have some additional ornaments which the appropriate performers may wish to consider adding after studying the solo piano score. The repeats are also played in the realisation and there are supporting guitar chords diagrams to support the notation of the guitar part. Close

Waltz in A minor arr. flute, acoustic guitar & double bass

A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs Read More...

A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs a needs to be played with a slight speeding up and slowing down of the tempo at appropriate places in the score which is described as tempo rubato and features in much of the best Chopin playing. Understand that the realisation doesn't apply rubato in a totally satisfactory way. The octave section that features in the melody of the piano score has not be transferred to the instrument writing in the arrangements. In Bar 21 the triplet option sounds in the realisation whilst the trill in the penultimate bar begins on the lower note and in the realisation 7 notes are sounded. The original piano work does have some additional ornaments which the appropriate performers may wish to consider adding after studying the solo piano score. The repeats are also played in the realisation and there are supporting guitar chords diagrams to support the notation of the guitar part. The bass could be either acoustic or electric. Close

Waltz in A minor arr. accordion, acoustic guitar & double bass

A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs Read More...

A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs a needs to be played with a slight speeding up and slowing down of the tempo at appropriate places in the score which is described as tempo rubato and features in much of the best Chopin playing. Understand that the realisation doesn't apply rubato in a totally satisfactory way. The octave section that features in the melody of the piano score has not be transferred to the instrument writing in the arrangements. In Bar 21 the triplet option sounds in the realisation whilst the trill in the penultimate bar begins on the lower note and in the realisation 7 notes are sounded. The original piano work does have some additional ornaments which the appropriate performers may wish to consider adding after studying the solo piano score. The repeats are also played in the realisation and there are supporting guitar chords diagrams to support the notation of the guitar part. Close

Waltz in A minor arr. flute & acoustic guitar

A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece need Read More...

A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs a needs to be played with a slight speeding up and slowing down of the tempo at appropriate places in the score which is described as tempo rubato and features in much of the best Chopin playing. Understand that the realisation doesn't apply rubato in a totally satisfactory way. The octave section that features in the melody of the piano score has not be transferred to the instrument writing in the arrangements. In Bar 21 the triplet option sounds in the realisation whilst the trill in the penultimate bar begins on the lower note and in the realisation 7 notes are sounded. The original piano work does have some additional ornaments which the performer may wish to consider adding after studying the solo piano score. The repeats are also played in the realisation and there are supporting guitar chords diagrams to support the notation of the guitar part. Close

Escovado arr. flute & 2 acoustic guitars

A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece arranged for flute and two guit Read More...

A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece arranged for flute and two guitars. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composer's best known works. Close

Escovado arr. accordion & 2 acoustic guitars

A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. If an accordion is not availab Read More...

A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. If an accordion is not available a keyboard or melody instrument can be substituted.The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. “Escovado” was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composer's best known works. The accompanying guitar players may wish to refer to the TAB score which is also available. Close

Minuet in F K.2 arr. tenor saxophone & bass guitar

Mozart's Minuet in F in an arrangement for tenor saxophone and bass guitar in the original key of F. The bass guitar part is both conventionally nota Read More...

Mozart's Minuet in F in an arrangement for tenor saxophone and bass guitar in the original key of F. The bass guitar part is both conventionally notated and also has a TAB chart whilst the tenor saxophone part is appropriately transposed. Mozart's piece 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 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

Minuet in F K.2 arr. tenor recorder & acoustic guitar

Mozart's Minuet in F in an arrangement for tenor recorder & classical guitar in the original key of F. The classical guitar part has both a notated an Read More...

Mozart's Minuet in F in an arrangement for tenor recorder & classical guitar in the original key of F. The classical guitar part has both a notated and a TAB score. 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

Brejeiro arr. marimba & piano

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to other instruments. His compositional st Read More...

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to other instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and a marimba part is appended to the music score. Close

Brejeiro arr. alto saxophone & piano

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to other instruments. His compositional st Read More...

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to other instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and a solo soprano saxophone part with the appropriate transposition is appended to the music score. There are some octave transpositions in the melody where the range of the solo instrument proves limiting. Close

Brejeiro arr. marimba, acoustic guitar & double bass

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His c Read More...

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Some of the chord voicings in the guitar parts have been changed and there are some octave transpositions in the melody where the range of the solo instrument proves limiting. The acoustic guitar part is notated conventonally with supporting chord symbols. If a marimba not available a keyboard instruments with an accordion/free reed sound can be used. Close

Brejeiro arr. accordion, acoustic guitar & bass guitar + TAB

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His c Read More...

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Some of the chord voicings in the guitar parts have been changed and there are some octave transpositions in the melody where the range of the solo instrument proves limiting. The TAB parts for the acoustic and bass guitar means that the score is quite cluttered so I would advise switching to the non TAB score when the music has been learnt. If an accordion is not available a keyboard instruments with an accordion/free reed sound can be used. Close

Brejeiro arr. flute & acoustic guitar

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments . His Read More...

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments . His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Some of the chord voicings in the guitar parts have been changed. Close

Tico-Tico arr. flute and acoustic guitar + TAB

In this arrangement of Tico-Tico for flute and acoustic guitar + TAB the sounding key is in A minor/major and the realization plays back at a tempo of Read More...

In this arrangement of Tico-Tico for flute and acoustic guitar + TAB the sounding key is in A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute This strongly syncopated piece is structured into three sections which can be represented as AABBAACCA. A flute and an acoustic guitar with TAB chart to support the conventionally notated copy are appended to the full music score. . The piece is structured into three sections and it can be satisfactorily performed with or without repeats. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Accompaniments featuring the acoustic guitar can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute Close

Tico-Tico arr. flute and acoustic guitar

In this arrangement of Tico-Tico for flute and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 quart Read More...

In this arrangement of Tico-Tico for flute and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute. This strongly syncopated piece is structured into three sections which can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Both players are required to play from the full score. Accompaniments featuring the acoustic guitar can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 84 quarter note (crotchet) beats to the minute. Close

Tico-Tico arr. flute, acoustic guitar & double bass

InIn this arrangement of Tico-Tico for flute, acoustic guitar and string bass the sounding key is A minor/major and a tempo of 80 quarter note (crotch Read More...

InIn this arrangement of Tico-Tico for flute, acoustic guitar and string bass the sounding key is A minor/major and a tempo of 80 quarter note (crotchet) beats to the minute is recommended. This strongly syncopated piece is structured into three sections which can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Individual instrument parts are appended to the full score and accompaniments featuring the acoustic guitar and string bass can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute. Close

Tico-Tico arr. marimba, acoustic guitar & double bass

In this arrangement of Tico-Tico for marimba, acoustic guitar and string bass the sounding key is A minor/major and the realization plays back at a te Read More...

In this arrangement of Tico-Tico for marimba, acoustic guitar and string bass the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. This syncopated piece is structured into three sections which can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Individual instrument parts are appended to the full score and accompaniments featuring the acoustic guitar and string bass can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute. Close

Rondo Alla turca arr. accordion, guitar & bass

This is shortened version of Mozart's Alla turca in an arrangement for a café style type of ensemble comprising accordion, guitar and bass. In the re Read More...

This is shortened version of Mozart's Alla turca in an arrangement for a café style type of ensemble comprising accordion, guitar and bass. In the realisation both guitars are electric and if a accordionist is not available then another instrument, at pitch, could be substituted. It should be an easy piece to learn in that it one of the the most immediately recognisable and popular pieces of music in the repetoire. It was Mozart himself who titled the piece Alla turca (Turkish March) as the music was intended to imitate the sounds of the instruments in the then familiar Turkish military bands. Understood to have been composed in 1783, a tempo in the range 100 quarter note (crotchet) beats to the minute is suggested for a café/contintental style type ensemble which is a bit slower than the than recommended. It is a very adaptable piece stylistically and in the repetoire of classical musicians, folk bands, jazz groups and café style ensembles. Close

Rondo Alla turca arr. 2 flutes & acoustic guitar

This is shortened version of Mozart's Alla turca in an arrangement for flute accompanied by piano. It should be an easy piece to learn in that it one Read More...

This is shortened version of Mozart's Alla turca in an arrangement for flute accompanied by piano. It should be an easy piece to learn in that it one of the the most immediately recognisable and popular pieces of music in the repetoire. It was Mozart himself who titled the piece Alla turca (Turkish March) as the music was intended to imitate the sounds of the instruments in the then familiar Turkish military bands. Understood to have been composed in 1783, a tempo in the range 110-120 quarter note (crotchet) beats to the minute is suggested. It is a very adaptable piece stylistically and in the repetoire of classical musicians, folk bands, jazz groups and café style ensembles. In the realisation one guitar has steel strings whilst the other has nylon to enhance the tonal contrast. Close

Andante in C from Keyboard Sonata No. 10. arr. violin & acoustic guitar

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 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 and it is very suited to being performed by just a melody instrument accompanied by an acoustic guitar. A tempo of 42 quarter notes (crotchet) beats to the minute is suggested. 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 Piano Sonata No.10 arr. flute & acoustic guitar

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 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 and it is very suited to being performed by just a melody instrument accompanied by an acoustic guitar. A tempo of 42 quarter notes (crotchet) beats to the minute is suggested. 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. treble recorder & acoustic guitar

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 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 and it is very suited to being performed by just a melody instrument accompanied by an acoustic guitar. A tempo of 42 quarter notes (crotchet) beats to the minute is suggested. 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. 2 flutes, acoustic guitar & bass

One of the most familiar pieces of the classical repetoire composed by the Italian composer, Luigi Boccherini. The work originated as part of his str Read More...

One of the most familiar pieces of the classical repetoire composed by the Italian composer, Luigi Boccherini. The work originated as part of his string quintet Opus 11 No.5. In this arrangement for two flutes, acoustic guitar and double bass the musical texture has been simplified into three parts melody, harmonic/chord accompaniment and bass. This is an excellent and concise movement for any musician needing to have a clear understanding of classical style and the structure of the classical minuet. The realisation has all the indicated repeats played except in the repeat of the minuet when the convention is for them not to be played. The formal pattern or shape can be represented as Minuet AABB Trio AABB Minuet AB. The Trio is a second minuet and described thus because it generally has a three part texture although in this particular example four instruments are sounding. There is a considerable amount of score detail, including fingering, in the prepared score and the ornaments have been written out in full, in an ossia staff, to assist players. This movement requires a performance that is both delicate and consistent which can be challenging to players not very experienced in playing music of the period. A tempo of 100 quarter note (crotchet) beats to the minute is recommended. Close

Rondo (Sonatina) arr. flute, acoustic guitar & bass guitar

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, acoustic guitar and bas 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, acoustic guitar and bass guitar, of the first section of the piece, the melody is played by the flute while the arpeggio chords are played by the acoustic guitar supported by a bass guitar. A tempo of 100 quarter note (crotchet) beats to the minute is suggested and the flute has the option of playing the melody up an octave on the repeat. Both guitar parts have TAB support. 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 players of these instruments to ensemble playing. Close

Romanze arr. alto & tenor saxophone & bass guitar

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 alto saxophone plays the 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 alto saxophone plays the melody whilst tenor saxophone accompanies playing broken chords with a bass line provided by a bass guitar. A tempo of 66 dotted quarter beats to the minute is recommended and as the music sounds in the key of F appropriate transcriptions have been made to the saxophone parts. Close

Vivace arr. flute & acoustic guitar + TAB

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 acoustic guitar with TAB 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. flute & acoustic guitar

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

This is an arrangement for flute 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

The Good Time’s Rag arr. violoncello, acoustic guitar & double bass

An arrangement for violoncello, acoustic guitar and double bass of this piece intended to introduce players to the musical elements that feature in ra Read More...

An arrangement for violoncello, acoustic guitar and double bass of this piece intended to introduce players to the musical elements that feature in ragtime. The violoncello plays the melody whilst the acoustic guitarist plays chords with has symbols/chord diagrams to assist. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended and it is suggested that the piece is is played through twice as it is in the realisation. Close

The Good Time\'s Rag arr. trombone, guitar & double bass

An arrangement for trombone, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in ragtime Read More...

An arrangement for trombone, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in ragtime. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. The acoustic guitar part has chord symbols to assist the player and it is suggested that the piece is is played through twice as it is in the realisation. Close

The Good Time\'s Rag arr. recorder, acoustic guitar & double bass

An arrangement for tenor or descant recorder, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that f Read More...

An arrangement for tenor or descant recorder, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in ragtime. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. The acoustic guitar part has chord symbols to assist the player and it is suggested that the piece is is played through twice as it is in the realisation. Close

The Good Time\'s Rag arr. flute, acoustic guitar & double bass

An arrangement for flute, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in the ragtim Read More...

An arrangement for flute, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in the ragtime style. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. The acoustic guitar part has chord symbols to assist the player and it is suggested that the piece is is played through twice as in the realisation. Close

Wilson’s Rag arr. violin, acoustic guitar & double bass

An arrangement of this ragtime waltz for violin, acoustic guitar and double bass The acoustic guitar chords are notated with both chord symbols/diagra Read More...

An arrangement of this ragtime waltz for violin, acoustic guitar and double bass The acoustic guitar chords are notated with both chord symbols/diagrams and the notes to be sounded in staff notation. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 100 quarter note (crotchet) beats to the minute is used in the realsation which some players might find just a little on the slow side. Close

Wilson’s Rag arr. flute, acoustic guitar & double bass

An arrangement of this ragtime waltz for flute, acoustic guitar and double bass The acoustic guitar chords are notated with both chord symbols/diagram Read More...

An arrangement of this ragtime waltz for flute, acoustic guitar and double bass The acoustic guitar chords are notated with both chord symbols/diagrams and the notes to be sounded in staff notation. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is the one used in the realisation. Close

The Entertainer arr. violin, acoustic guitar & double bass

In this trio arrangement for violin, acoustic guitar and string/upright/double bass a tempo of around 72 quarter note (crotchet) beats to the minute i Read More...

In this trio arrangement for violin, acoustic guitar and string/upright/double bass a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close

The Entertainer arr. violin & acoustic guitar

In this duo arrangement for violin and acoustic guitar a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin's Read More...

In this duo arrangement for violin and acoustic guitar a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin's The Entertainer which he described as A Rag Time Two Stepwas composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close

The Entertainer arr. flute & acoustic guitar

Scott Joplin's The Entertainer which he described as A Rag Time Two Step was composed in 1902. The music is instantly recognisable, which is a disadva Read More...

Scott Joplin's The Entertainer which he described as A Rag Time Two Step was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. A tempo of around 72 quarter note (crotchet) beats to the minute is recommended in this arrangement for flute and acoustic guitar duo. Close

The Entertainer arr. flute, acoustic guitar & double bass

Described as a Rag Time Two Step and composed in 1902, this music is instantly recognisable, which is a disadvantage to any instrumentalist because as Read More...

Described as a Rag Time Two Step and composed in 1902, this music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. A tempo of around 72 quarter note (crotchet) beats to the minute is suggested in this arrangement for flute, acoustic guitar and double bass. Close

El Choclo arr. marimba, acoustic guitar & double bass

This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." A tempo of 60-66 quarter note (crotchet) notes Read More...

This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. An adapable piece this movement exists in arrangements for solo instruments , various duos, cafe style groups and orchestra. Guitarists have the option of changing the chord positions on the fretboard to alter the chord voicing and improve the ensemble. The double bass is to be played pizzicato throughout the arrangement and can be substituted by bass guitar or an acoustic bass guitar. 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

El Choclo arr. violin, acoustic guitar & double bass

This very popular tango dates from 1903. The English translation of El Choclo is the The Ear of Corn. A tempo of 60-66 quarter note (crotchet) notes Read More...

This very popular tango dates from 1903. The English translation of El Choclo is the The Ear of Corn. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. An adapable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Guitarists have the option of changing the chord positions on the fretboard to alter the chord voicing and improve the ensemble. The double bass is to be played pizzicato throughout the arrangement and can be substituted by bass guitar or an acoustic bass guitar. 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

El Choclo arr. flute, acoustic guitar & double bass

This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". A tempo of 60-66 quarter note (crotchet) notes Read More...

This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. The ornaments should possibly not be included in a performance until the piece is being played accurately and securely. Guitarists have the option of changing the chord positions on the fretboard to change the chord voicing and improve the ensemble. The double bass is to be played pizzicato throughout the arrangement and can be substituted by bass guitar or an acoustic bass guitar. An adapable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. 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.Tango is typically played on instruments such as the accordion, piano, guitar, violin and double bass. The bandoneon (with its accordion sound) is a type of concertina has become one of the standard instruments found in a Argentinian tango ensemble Close

La Paloma arr. flute & cello

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

This improver level two part arrangement is for flute 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. 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. marimba, acoustic guitar & double bass

This arrangement is for marimba , acoustic guitar and acoustic or string bass in staff notation has individual parts appended to the full music score. Read More...

This arrangement is for marimba , acoustic guitar and acoustic or string bass in staff notation has individual parts appended to the full music score. 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. 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

Soirée Polka arr. banjo, acoustic guitar & electric bass

This arrangement is for banjo, acoustic guitar and bass guitar with each instrument part having TAB. As such it is quite a long score so that when the Read More...

This arrangement is for banjo, acoustic guitar and bass guitar with each instrument part having TAB. As such it is quite a long score so that when the parts are familiar I would suggest switching to the other version of this piece without TAB. 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. 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

Soirée Polka arr. violin, acoustic guitar & double bass

The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Read More...

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 a chararacterful and rhythmic piece suited to being played by a wide range of instruments and instrumental groups. The music needs to be played lightly and a tempo of 110 quarter note (crotchet) beats to the minute is recommended. 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

La Paloma arr. 2 clarinets in B Flat & string bass

This arrangement is for two clarinets in Bb and string bass. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The me Read More...

This arrangement is for two clarinets in Bb and string bass. 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 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. two flutes & cello

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

This arrangement is for two flutes and cello playing in the key of G. 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

La Paloma arr. 2 clarinets in B Flat & string bass

An arrangement for two clarinets in Bb and string bass of this popular piece. Sebastian Yradier was a Spanish born composer who died in obscurity in 1 Read More...

An arrangement for two clarinets in Bb and string bass of this popular piece. Sebastian Yradier was a Spanish born composer who 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. The melody needs to be played legato whilst the accompaniment 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. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. Close

Over the Waves arr. violin & guitar with TAB

This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Read More...

This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. The guitar part also has TAB. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Guitar accompaniments are available as an mp3 download at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close

Over the Waves arr. violin, acoustic guitar & double bass

A familiar waltz that lends itself to being arranged and played by several different instrument combinations. The melody is very much associated with Read More...

A familiar waltz that lends itself to being arranged and played by several different instrument combinations. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs. Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most well known Latin American pieces. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Close

Over the Waves arr. violin & acoustic guitar

A familiar waltz melody that lends itself to being played by a wide variety of instruments.Rosas was a Mexican composer and violinist who began his ca Read More...

A familiar waltz melody that lends itself to being played by a wide variety of instruments.Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most well known Latin American pieces. The waltz melody is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs and was used for the song "The Loveliest Night of the Year" from the MGM film "The Great Caruso." This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Guitar accompaniments are available at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close

Gymnopedie No.1 arr. flute & acoustic guitar

An arrangement for guitar and flute of this attractive melodic piece which was composed and published in 1888. Erik Satie was a French composer and wh Read More...

An arrangement for guitar and flute of this attractive melodic piece which was composed and published in 1888. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. There are chord diagrams to assists the accompanying guitar which has the sixth string tuned down to D. Close

Gymnopedie No.1 arr. for oboe & acoustic guitar

Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Read More...

Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. His Gymnopedie No. 1 is an attractive melodic piece which was composed and published in 1888. The accompanying guitar needs the lowest string to be tuned to the note D. Close

Gymnopedie No.1 arr. for flute, acoustic guitar & bass

Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Read More...

Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. His Gymnopedie No. 1 is an attractive melodic piece which was orchestrated by Debussy. Satie's writings and works influenced many of the avant-garde movements established in Paris in the early 20th century. Close

Twinkle, Twinkle Variations arr. flute & 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 for flute and cello 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

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

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

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

Jesu, Joy arr. for tenor recorder & acoustic guitar

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

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

Jesu, Joy arr. for flute, acoustic guitar & violoncello

Jesu, Joy arr for flute, guitar & violoncello This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) Read More...

Jesu, Joy arr for flute, guitar & 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 flute, acoustic guitar playing chords 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. The music editor suggests that the tempo of the realisation is a little on the fast side. Close

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

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

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

Minuet in Bm arr for flute & acoustic guitar

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

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

Minuet in Bm arr for flute, guitar & cello

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

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

Invention No.8 in F arr. violin & bassoon

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

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

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

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

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

Bourrée in Em BWV 996 arr. flute & acoustic guitar

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

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

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

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

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

Invention No.4 in D minor arr. for flute and violoncello

An arrangement for flute and cello of this Invention which is particular suited to this combination of instruments. A flowing and reflective movement Read More...

An arrangement for flute and cello of this Invention which is particular suited to this combination of instruments. 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. Close

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

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

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

Siciliano in Gm arr tr recorder, guitar & cello

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

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

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

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

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

Polonaise in G minor arr for horn in F and bassoon

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

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

Polonaise in G minor arr for flute and cello

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

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

Polonaise in Gm arr for flute & acoustic guitar

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

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

March in D arr for flute and acoustic guitar

An arrangement for flute and acoustic guitar of this characterful and lively march by C.P.E.Bach. the guitar part is written in both conventional staf Read More...

An arrangement for flute and acoustic guitar of this characterful and lively march by C.P.E.Bach. the guitar part is written in both conventional staff notation and TAB. Close

March in D arr for flute and cello

An arrangement for flute and cello of this characterful and lively march by C.P.E.Bach in cut time.

Minuet arr. for flute and guitar

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

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

Minuet arr. for alto saxophone and piano

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

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

Minuet in G arr. for flute and cello

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

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

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

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

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

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

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

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

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

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

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

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