Serenade by R. Hoffstetter is a popular movement from the classical repertoire that adopts well to a crossover interpretation. This arrangement for a Show More...
Serenade by R. Hoffstetter is a popular movement from the classical repertoire that adopts well to a crossover interpretation. This arrangement for alto saxophone, electric guitar & bass guitar has the PlentyMusic realisation playing back at 94 quarter note (crotchet) beats to the minute. Improve music practice routines by downloading this sheet music score and accompaniments from PlentyMusic.
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 melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato whilst the guitar and bass accompaniments offer and appropriate contrasting accompaniment. Observant listeners will recognise that not all the ornamaments sound in the realisation. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested while individual parts are appended to the full score available as a pdf download from the PlentyMusic website.
The repeats which are not marked in the video score do not play in the realisation or video score. mp3 piano accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments provide the alto saxophone player with the opportunity to practice in an ensemble context. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments to establish the tempo.
An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers.
The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. In the video score available on our YouTube channel all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) are probably best omitted in the early stages of playing the movement.
This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency.
The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity.
Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close
Added: 3rd April, 2023 10:04 AM |
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Gnoissienne No. 1 an intermediate level piano solo dating from 1890 and was composed by Erik Satie one of the most eccentric and individual composers Show More...
Gnoissienne No. 1 an intermediate level piano solo dating from 1890 and was composed by Erik Satie one of the most eccentric and individual composers in the history of music. The movement is frequently associated with images particularly in video documentaries that convey sadness and melancholy. Satie’s sound world is both individual and characteristic. There is a strong repetitive element whilst the timeless element is also an additional feature. Satie was a composer who experimented with form, rhythm and both chordal structures and sounds. A miniaturist his music connects with many because his sound world retains great contemporary appeal. The first 3 Gnoissiennes were published in 1893 and do not have time signatures or bar lines and are described as being in free time. The score available from PlentyMusic has this and an additional appended score which does have the time signature and bar lines in place. Bar lines are so easy on the eye and the music editor suggests should never be totally ignored. The playback tempo is 110 quarter note beats to the minute suggesting a more Moderato tempo than Lento. Understand that music tempi in general have quickened in the last 100 years. The use of the sustaining pedal is recommended but not indicated in the sheet music score. Saties’s Gnoissienne are similar to the Gymnopedie’s in style and concept and musical language. Satie lived in Paris and there are some fascinating commentaries about his daily life and work routines which involved walking from his apartment in Accueil to Paris particularly to Montmartre and after WW1 to Montparnasse. They are well worth exploring particularly as they give insight to his approach to life and composition. When he died much of his music was rediscovered simply because it was buried in a piano below a piano. Work this one if you can or research more. He is a quite extraordinary composer who more than 100 years after his death remains even more extraordinary and certainly suggests he lived well before his time. Possibly in more recent times he would be described as being somebody with OCD (obsessive compulsive disorder) although that is a diagnosis for a psychologist rather than a music editor. Satie’s music translates well into other idioms such as jazz. He remains a composer who whose music should be explored by all musicians. Close
Added: 11th March, 2022 18:03 PM |
Views : 1061
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Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for flute with classical guitar accompaniment sounding in the key of E minor. A flute pa Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for flute with classical guitar accompaniment sounding in the key of E minor. A flute part is appended to the full score which is available as a pdf. Guitar accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the original piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 19th February, 2022 11:02 AM |
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Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is an ensemble of 3 pitched percus Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is an ensemble of 3 pitched percussion instruments with the marimba being featured in the realization and music score. It features many of the rhythmic patterns characteristic of Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. If the arrangement requires some re-scoring for different percussion instruments please advise the PlentyMusic office with your requirements. Instrumental parts are appended to the full music score which can be downloaded as a pdf. Close
Added: 28th August, 2021 08:08 AM |
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Composed in the key In the key A minor this movement in ABA ternary form has a haunting quality. The realisation plays back at 66 dotted quarter notes Show More...
Composed in the key In the key A minor this movement in ABA ternary form has a haunting quality. The realisation plays back at 66 dotted quarter notes to the minute. The voice leading particularly in the two top lines of the organ solo is often quite difficult to follow and that is why the piano duet version arranged by Bizet and the two piano version arranged by Debussy are well worth exploring. The music editor suggests slow practice in the first instance to ensure that the reading of the notes and accidentals is accurate. Chromaticism is a strong feature of this movement. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and as far (speeding up and slowing down) as far as tempo is concerned. There is a substantial amount of score detail in the sheet music scores particularly in respect to the articulation of notes. Players may well wish to make use of the piano sustaining pedal although its use has not been indicated in the sheet music score. In temperament, Schumann was quite insecure and the Studies in Canon perhaps reflect the need for a himto reacquaint himself with the discipline of counterpoint. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 72 dotted quarter (crotchet) note beats to the minute, Accompaniment 2 at 69 dotted quarter (crotchet) note beats to the minute, Accompaniment 3 at 66 quarter note beats (crotchet) to the minute and Accompaniment 4 at 63 quarter note beats to the minute. There is a two bar count in with the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 7th November, 2020 13:11 PM |
Views : 2055
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In this arrangement for tenors saxophone with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quar Show More...
In this arrangement for tenors saxophone with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (crotchet) beats a minute in the first and last A section and 144 in the middle B section. The first section could be played at a slower or quicker tempo and likewise the middle section. The movement needs to be played with a one in a bar feel and features the triplet figuration that is so characteristic of Spanish music. Players should endeavour to communicate the charm and intimacy of the music whilst the melody and accompaniment need to be articulated with clarity and consistency. The movement is in ABA ternary form and has a regular 8 bar phrase structure. In fact each of the main sections are in ternary form so analysis of the movement reveals a structure that can be represented as A (a b a) B (c d c) A (a b a). Octave transpositions are in place where appropriate and chord voicings in the accompaniment have been occasionally edited. The melody is also presented as a single note line. Tempo rubato is something that can be embraced in a performance but has not been used in the realisation and playback. Similarly, the sustaining pedal can be used although its use is not indicated in the sheet music score. The slowing downs that feature at the end of phrases are also not marked in the score. This is music intended for performance in the early 20th century drawing room. This colourful movement exists in several chamber and orchestral arrangements. Moszkowski is a composer whose brilliant piano pieces in particular are worthy of attention although much of the music is technically very challenging. Piano accompaniments are available playing at the following tempi (1) 144/144/144 (2) 138/150/138 (3) 135/144/135 (4)126/138/126. The numbers simply refer to the number of quarter note/crotchet beats to the minute referencing the ABA structure. If you require a more bespoke accompaniment please advise the PlentyMusic office and we will create and upload it for you. The small ornamental notes do not sound in the arrangement although they have been retained in the sheet music score. The music editor suggests that they are probably best omitted certainly in the early stages of learning the piece. Close
Added: 26th August, 2020 13:08 PM |
Views : 2122
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Country Gardens is a traditional English folk tune that was collected (notated) by Cecil Sharp in 1899 from the concertina playing of William Kimber w Show More...
Country Gardens is a traditional English folk tune that was collected (notated) by Cecil Sharp in 1899 from the concertina playing of William Kimber who was the musician for Headington Quarry Morris Men. There are many variants of the tune and this is an improver level two part arrangement for piano or keyboard. It is an ideal piece of music for the improver level keyboards player as the melody is both familiar and quickly internalised. Do pay attention to the rhythmic detail and particularly the dotted notes. The realisation plays back at 72 half note or minim beats to the minute. There is suggested fingering in place on the sheet music score and keyboard players should be aiming for rhythmic playing with a legato touch. The time signature is 2/2 often referred to as “cut time” meaning that there are two half note or minim beats to the bar. Close
Added: 8th July, 2020 10:07 AM |
Views : 2808
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Frankie and Johnnie is an improver level piano solo exploring the 12 bar blues in a swing style requiring it to be played with a triplet feel. The con Show More...
Frankie and Johnnie is an improver level piano solo exploring the 12 bar blues in a swing style requiring it to be played with a triplet feel. The convention as far as notating swing rhythm can vary and be confusing. Listen to the realisation score and understand the conventions involved in the notation of the rhythmic shapes. The original text of the song is about jealousy and murder and likely to be in part true. There are hundreds of recordings of the song representing a great range of musical styles. The realisation plays back at 120 dotted quarter (crotchet) beats to the minute although the closing section is played at a slightly slower tempo. The music needs to be played in a relaxed manner and there is opportunity to explore the articulation of the melody notes. The best advice when playing this type of music is to essentially make a performance your own. Close
Added: 30th June, 2020 13:06 PM |
Views : 2742
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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 Show 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
Added: 2nd January, 2020 21:01 PM |
Views : 2360
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Puccini’s Piccolo Valzer dates from 1894 and but was revisited by the composer becoming Musetta’s Waltz “Quando me n’vo” in Act II of the op Show More...
Puccini’s Piccolo Valzer dates from 1894 and but was revisited by the composer becoming Musetta’s Waltz “Quando me n’vo” in Act II of the opera “La Boheme.” It is interesting to play this waltz melody as a piano piece and the music editor suggests a Moderato tempo rather than Lento. The composer was inspired to write the work after a boat trip fishing on the lake close to his home. The playing instruction con ondulazione is a reference to ripples on the water. Pianists need to avoid playing with too heavy a touch and the sustaining pedal needs to be used or else the playing may sound on the lumpy side. This is marked in the sheet music score and be ready for some rather quick pedalling changes. The realisation plays at 94 quarter note beats to the minute. There is opportunity for the music to ebb and flow in respect to the tempo and the tempo rubato is a reference to this type of playing. There is some wonderful harmonic writing in this ternary form ABA work but avoid any exaggerated playing and aim to communicate the simplicity and beauty of the melody. Close
Added: 13th December, 2019 09:12 AM |
Views : 2253
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Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African A Show More...
Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African American spiritual. There are many recorded versions dating as far back as the 1920’s and It was also familiar as an anti-war protest song during the Vietnam war. There are many versions of the lyrics which include Old Testament bible references. There are fine performances to be discovered by traditional jazz bands and singers that explore traditional, gospel and contemporary popular music styles. This arrangement sounds in the key of F and features syncopation in a march style. It is as an excellent introduction for learning to play in the 20th century popular idiom. A clarinet in Bb part appropriately transposed is appended to the full score. There is one accompaniment available that plays back at a tempo of 84 half note or minim beats to the minute. Close
Added: 13th December, 2019 09:12 AM |
Views : 1923
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This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and 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 a trombone part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 18:12 PM |
Views : 1840
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A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for flute accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for flute players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling for the whole movement is in place with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. There are some octave transpositions in the arrangement needed to keep the flute within its range. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A flute part is appended to the full score. Two accompaniments are available (1) with repeats and (2) without repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 11:12 AM |
Views : 2000
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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 Show 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 acoustic guitar + TAB and acoustic guitar + chord chart 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) 90 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 110 quarter note (crotchet) beats to the minute. Close
Added: 15th November, 2019 20:11 PM |
Views : 2260
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Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in Show More...
Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was very fortunate in that he was able to source several folk music collections on which to compose and arrange music. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 quarter note beats to the minute. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The sustaining pedal needs to be used in the playing of the movement and many of the chords are played in a spread or arpeggiated pattern. The melodic and rhythmic shapes of the movement are both strong and this is an excellent performance piece. There are also many arrangements of the piece to be explored for various combinations of instruments. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 68 quarter note beats (crotchet) to the minute and 112 quarter note beats (crotchet) to the minute for the faster section, Accompaniment 2 at 66 quarter note beats (crotchet) to the minute and 108 quarter note beats (crotchet) to the minute for the faster section, Accompaniment 3 at 64 quarter note beats (crotchet) to the minute and 104 quarter note beats (crotchet) to the minute for the faster section There is a four bar count in featuring two different sounds of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 15th November, 2019 08:11 AM |
Views : 2329
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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 Show 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 oboe accompanied by piano. The playback tempo is 84 quarter note beats to the minute and an oboe part is appended to the full score. Close
Added: 18th September, 2019 11:09 AM |
Views : 1907
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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 Show 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
Added: 25th July, 2019 14:07 PM |
Views : 2213
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This is an arrangement for brass quintet comprising two trumpets in Bb, horn in F (French horn), trombone and tuba of Tchaikovsky’s Neapolitan Dance Show More...
This is an arrangement for brass quintet comprising two trumpets in Bb, horn in F (French horn), trombone and tuba of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the trumpet part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the players and has been well rehearsed. Individual parts for each of the instruments are appended to the full score. Close
Added: 15th March, 2019 10:03 AM |
Views : 3214
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In this arrangement for saxophone quartet the specified instruments are soprano, alto, tenor and baritone saxophones. The score is formatted as a one Show More...
In this arrangement for saxophone quartet the specified instruments are soprano, alto, tenor and baritone saxophones. The score is formatted as a one document pdf file with individual parts for the four saxophones appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb which is the sounding key of this realisation playing at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly in this sunny piece. Close
Added: 26th January, 2019 13:01 PM |
Views : 3774
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One of the jewels of music originating as a guitar solo and composed in 1909 by the Mexican composer Manuel Ponce. This is simply beautiful music expl Show More...
One of the jewels of music originating as a guitar solo and composed in 1909 by the Mexican composer Manuel Ponce. This is simply beautiful music exploring the three in a bar, two in a bar rhythmic pattern so characteristicic of Spanish and South American music. Whilst the melody is predominantly diatonic the harmony is chromatic particularly at the start of the second section. The melodic line does need to predominate particularly in the chromatic section from bar 10. There are some ambiguities in the score in respect to tied notes although the music editor has been guided by the guitar copy of the score. The tempo of the realisation is 110 dotted quarter notes (crotchet) beats to the minute whilst there is opportunity for the tempo to ebb and flow as if the performance is being sung. Close
Added: 18th January, 2019 16:01 PM |
Views : 2597
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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 Show 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 baritone horn and piano sounding in Eb is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a more 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 is an possible to recruit a percussion player. A baritone horn part appropriately transposed is appended to the full score. Close
Added: 5th December, 2018 19:12 PM |
Views : 2014
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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 Show 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
Added: 6th November, 2018 15:11 PM |
Views : 2367
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A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show 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
Added: 3rd October, 2018 12:10 PM |
Views : 3655
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Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A euphonium part notated in the treble clef is appended to the full score. Four accompaniments are also available. Close
Added: 1st June, 2018 12:06 PM |
Views : 2027
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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 Show 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 with several different instrument combinations. 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 2 part. 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 although some of the chord voicing in the guitar 2 part may need to further simplified. The realisation features an electric and an acoustic guitar. Guitar accompaniments are available at 54, 50 and 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 9th April, 2018 12:04 PM |
Views : 2918
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The arrangement is scored for flute, oboe, clarinet in A, horn in F (French horn) and bassoon and uses the first theme from the third movement of Boro Show More...
The arrangement is scored for flute, oboe, clarinet in A, horn in F (French horn) and bassoon and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dating from 1881 the movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts whilst the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work has been incorporated into the arrangement. Individual parts appropriately transposed are appended to a copy of the full score. Close
Added: 2nd September, 2017 08:09 AM |
Views : 4262
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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 Show 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. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo violoncello part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1864
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This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show 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
Added: 27th July, 2017 11:07 AM |
Views : 3126
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This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. One of the most Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. One of the most popular of all Scarlatti's keyboard sonatas requiring particular attention to the rhythmic detail especially the dotted notes. A tempo of 92 quarter note or crotchet beats to the minute is suggested whilst the realisation plays at this tempo. A lightness of touch is essential even in the loud sections and there is scope for players to explore different keyboard touches, legato, staccato and staccatissimo, in arriving at their own interpretation. Remember that the piece originates as a harpsichord movement so it is important to avoid a too heavy handed approach. The playing of trills especially at cadences at the end of the main sections is a subject in itself - the best advice is to play them rhythmically and consistently. Keep them symmetrical and rhythmic and play 4 or 8 note patterns. The characteristic open sounding chords arise because the third is often missing while use of sustaining pedal is recommended. This is an excellent piece to develop the performance aspect of an individual's music making in that it is a movement that one can never tire of playing. In setting the music there are different approaches and options that can be made to beaming, the positioning of the treble and bass clefs and the sharing of notes between the hands. This particular sonata is often played on the guitar and the imitation of the strumming of a guitar is something referenced in the patterns of the keyboard writing.. Close
Added: 27th July, 2017 11:07 AM |
Views : 2464
Downloads : 1
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 Show 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
Added: 27th July, 2017 11:07 AM |
Views : 2170
Downloads : 1
In this arrangement of Tico-Tico for bassoon with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 8 Show More...
In this arrangement of Tico-Tico for bassoon with piano accompaniment 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. A bassoon part is appended to the full score. The piece is structured into three sections and the formal pattern of the realization played with repeats 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. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments are available as mp3 downloads playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close
Added: 27th July, 2017 11:07 AM |
Views : 4065
Downloads : 1
An arrangement for oboe and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of G. The score for the oboe part is Show More...
An arrangement for oboe and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of G. The score for the oboe part is appended to the full score and where the high range of the instrument is to be used an alternative ending is given notated in the ossia staff. The realisation lacks a little subtlety in terms of ebb and flow as far as the tempo is concerned. The best advice is that a performance should not be rushed. Debussy scores contain much score detail and the original French language has been retained in this aspect of the notation. Performers will need to read the music carefully as there are many accidentals in the score attributable to the modal shifts in the writing. Debussy was something of a rule breaker in his approach to composition concerned more with sound rather than process. I would suggest listening to several performances of the piece with different instrument combinations to understand the interpretative options that are possible. Interestingly Debussy in his scores always put his titles at the end of his pieces in his prelude collections. Close
Added: 27th July, 2017 11:07 AM |
Views : 2105
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An arrangement of this ragtime waltz for ukelele with TAB, acoustic guitar and double bass or bass guitar with TAB. The acoustic guitar chords are not Show More...
An arrangement of this ragtime waltz for ukelele with TAB, acoustic guitar and double bass or bass guitar with TAB. The acoustic guitar chords are notated with both chord symbols/diagrams and a slash chord in staff notation to indicate the chord rhythm. 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
Added: 27th July, 2017 11:07 AM |
Views : 2593
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Elite Syncopations is another high quality ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this Show More...
Elite Syncopations is another high quality ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for alto saxophone accompanied by piano. The sounding key is F although the solo instrument part is appended to the full music score with the appropriate transposition. The same ragtime piece is often heard played at varying tempos but the best advice is not to play too fast. It does need to be played consistently and with simplicity even though some of the sections are technically quite challenging. Some of the repeat sections have the option of playing the melody up an octave but this may prove to be too challenging for some instruments. Close
Added: 27th July, 2017 11:07 AM |
Views : 1841
Downloads : 1
In this arrangement for tenor saxophone with piano accompaniment sounding in the key of Bb a tempo of around 72 quarter note (crotchet) beats to the m Show More...
In this arrangement for tenor saxophone with piano accompaniment sounding in the key of Bb a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. The solo instrument part with the appropriate transposition is appended to the full music score. Players may well want to challenge the intermediate level that has been given for this piece. 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
Added: 27th July, 2017 11:07 AM |
Views : 1915
Downloads : 2
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 Show 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. Ãngel 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
Added: 27th July, 2017 11:07 AM |
Views : 3072
Downloads : 1
This arrangement is for violin, viola and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The Show More...
This arrangement is for violin, viola and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment cello figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 2484
Downloads : 1
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo Show More...
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise cheerful piece dating from 1904. A flute part is appended to the full score. 3 piano accompaniments are available playing at 92, 96 and 100 quarter note beats to the minute. Each has a 4 bar introduction indicating the tempo that sounds on a wood block. There is a one bar silent bar before the repeat of the A section. Close
Added: 27th July, 2017 11:07 AM |
Views : 1913
Downloads : 2
A familiar waltz melody that lends itself to being played by a wide variety of instruments. This arrangement for two guitars has TAB support and with Show More...
A familiar waltz melody that lends itself to being played by a wide variety of instruments. This arrangement for two guitars has TAB support and with the realisation being played at 60 dotted half note (minim) beats to the minute by two acoustic guitars. 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 interpreted by many stylistically different types of performing groups. 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
Added: 27th July, 2017 11:07 AM |
Views : 2599
Downloads : 1
An arrangement for violin with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo violin part is Show More...
An arrangement for violin with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo violin part is also appended to the full score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 1970
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J.S.Bach’s Invention 4 BWV 775 arr. classical guitar duo with both notated & TAB scores available as pdf downloads from the PlentyMusic website.
In Show More...
J.S.Bach’s Invention 4 BWV 775 arr. classical guitar duo with both notated & TAB scores available as pdf downloads from the PlentyMusic website.
In the key of D minor this is an appealing work featuring an opening motif or melodic shape that combines a scale shape with the interval of a falling diminished seventh.
The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute.
The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers.
The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written F natural but many alternate a F# with the E. The ornaments can always be omitted particularly in the early stages of learning the movement. Many guitarists edit the music score in how they play the ornaments finding it difficult to sustain the hammer technique for so long. Find a solution but do ensure that both parts and instruments are imitating each other. The voicing in this arrangement with the guitar 1 sounding an octave lower than written means that the contrapuntal lines are an octave closer together than in the original piano version.
In the video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played.
Accompaniments are in place allowing classical guitar duo players to participate in an ensemble activity as part of practice routines. Classical Guitar 1 sounds on one side of the stereo channel and Classical Guitar 2 on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks.
This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement.
Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly!
The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual guitar parts are also appended to the full scores available as a pdf download from the PlentyMusic website.
The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closely related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque.
They are excellent pieces for developing a sound and secure playing technique. This is a revision and update of a previous score posted on the website. Close
Added: 27th July, 2017 11:07 AM |
Views : 2139
Downloads : 1
Bach's famous Prelude from Book I of The Well Tempered Clavier. It is a beautiful chordal piece requiring some delicate right hand pedalling when pla Show More...
Bach's famous Prelude from Book I of The Well Tempered Clavier. It is a beautiful chordal piece requiring some delicate right hand pedalling when played on the piano. The score also has some suggested fingering. Close
Added: 27th July, 2017 11:07 AM |
Views : 2263
Downloads : 2
