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Sinfonia 2 BWV 788 piano | keyboard

The realisation playback at 60 dotted quarter note or crotchet beats to the minute. A plain score is appended to the edited music score. Whilst the su Show More...

The realisation playback at 60 dotted quarter note or crotchet beats to the minute. A plain score is appended to the edited music score. Whilst the suggestions in the edited music score are prescriptive it is intended that keyboard players will make use of the plain score once the movement has been studied. Understand that a good performance comes from good preparation. Music editing is a continuous process and keyboard players should be prepared to review the suggestions. There are a number of techniques that are encouraged to be used in the editing suggestions namely changing a finger on a note and sliding a finger from one note, usually a black note, to a succeeding white note. All editing suggestions are to encourage legato playing. In this version ornaments have been omitted. Playing the C minor scale in all its forms natural, harmonic and melodic would be excellent preparation for playing this sinfonia. Find scales in the free scores drop down menu on the website home page. The voice leading in this sinfonia is not altogether straightforward and players will need to pay attention to the accidentals in the score possibly adding reminders if required. Conflicting accidentals often appear in different voices in the same bar. A sinfonia that features arpeggios and scale runs with the rhythmic shapes in the lines having a strong repetitive element. The note values given in Bach’s Sinfonias often give an indication of intended articulations that are intended. Players should be aiming for a singing legato in their playing. The movement needs to be played, in the first instance, with an awareness of the patterns of 3 in the 12/8 time signature (4x3 to the bar). It is important to keep to the written note durations. An additional challenge which often arises when playing the sinfonias on a keyboard instrument is deciding how the middle part is shared between the hands. Keyboard players may well wish to review the suggestions. Rests have been indicated in the voices as they are in the keyboard version of the works Some of the rhythmic notation particularly with regards to the use of rests is ambiguous. Logic and rules do not universally apply. What tends to be in place is what is good for the eye. There are also some ambiguities in the voicing in the score that reference that the sinfonias were composed for an instrument with more than one keyboard – the harpsichord. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills and good intonation in an ensemble playing context. The Sinfonias are works conceived for three voices and feature compositional processes very much associated with Bach’s contrapuntal writing namely: repetition, inversion, imitation, augmentation, diminution. In these works the closely related keys of the dominant, sub- dominant, relative minor are explored. Thgis movement ends with a Picardy third – a major chord rather than the one indicated by the key signature. The movement should not be played too quickly. The music editor’s advice is that players need to be clear in their intention as far as the articulation of the lines and the dynamics. Whilst a movement that needs to be played with control there also needs to be a lightness in the playing approach. PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close

The Cuckoo | Le Coucou

The Cuckoo (Le Coucou) is an intermediate level keyboard piece dating from 1735 in which the call of the cuckoo is imitated. In some ways this makes i Show More...

The Cuckoo (Le Coucou) is an intermediate level keyboard piece dating from 1735 in which the call of the cuckoo is imitated. In some ways this makes it an early example of programme music. Whilst originally intended and played on a harpsichord it is often played on the piano. The realisation plays back at 120 quarter note (crotchet) beats a minute. The score detail in place is appropriate for the music to played on a piano or keyboard. If opportunities arise do play it on the organ. Keyboard players need to approach this work with a lightness in their touch and keep their fingers as close as possible to the keys.The tempo needs to be constant possibly with a slight slowing down at the cadence points. The ornamental notes are probably best omitted while the piece is first being studied. The ornamentation in baroque keyboard music is a specialist subject in itself and the suggestions in the sheet music download are intended to encourage a practical, consistent and above all rhythmic approach. Louis Claude Daquin was a French composer and famous as an organist and harpsichordist living and working in Paris. He is particularly associated with the baroque and style galant contexts in music history. The rondeau form involves a principal theme or refrain alternating with sections known as episodes or couplets. ABACA would accurately reflect the form of the work although the phrase structure is irregular. The A sections are 23 bars long, B is 19 bars and C as much as 27 bars. The rondeau form was particularly popular with French baroque composers especially Lully, F. Couperin & Rameau. Close

España Cañi | Spanish Gypsy Dance | Paso-Doble arr. piano

España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for piano solo. One of the most familiar pieces of the Spanish Show More...

España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for piano solo. One of the most familiar pieces of the Spanish repertoire this arrangement from PlentyMusic is now available to download. The PlentyMusic sheet music video and realisation plays back at a tempo of 112 quarter note beats per minute. The tempo in the arrangement is constant. This is a performance piece that explores many of the extremes of music performance both from the dynamic and articulation points of view. As a score reduction the piano arrangement is a challenge in that much of the intended musical content is omitted simply because of the limitation of the hands. Intended as an ensemble piece pianists should explore the music in an ensemble context when opportunities allow. There are many arrangements of this music available from the PlentyMusic sheet music library combining many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using professionally engraved & prepared resources. The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the elements of the Spanish idiom and style. The second section has an appealing syncopated melody with some lightening of the musical texture. The solo line played needs to be played with confidence and accuracy. The melody is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach. The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Martellato means strongly accented. Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound. This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed! A great movement for both the player and the listener for its dramatic and musical qualities. The composition dates from 1923 and was recorded as early as 1926. Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone). The cadences in Spanish music have a characteristic sound. The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism. The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. The conception of the dance is a re-imagining of the movements of the Spanish matador in the bull ring. YouTube España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for piano solo. One of the most familiar pieces of the Spanish repertoire this arrangement from PlentyMusic is now available to download. #sheetmusic: coming soon The PlentyMusic sheet music video and realisation plays back at a tempo of 112 quarter note beats per minute. The tempo in the arrangement is constant. As a score reduction the piano arrangement is a challenge in that much of the intended musical content is omitted simply because of the limitation of the hands. Intended as an ensemble piece pianists should explore the music in an ensemble context when opportunities allow. There are many arrangements of this music available from the PlentyMusic sheet music library combining many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using professionally engraved & prepared resources. The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the elements of the Spanish idiom and style. The second section has an appealing syncopated melody with some lightening of the musical texture. The solo line played needs to be played with confidence and accuracy. The melody is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach. The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Martellato means strongly accented. Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound. This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed! A great movement for both the player and the listener for its dramatic and musical qualities. The composition dates from 1923 and was recorded as early as 1926. Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone). The cadences in Spanish music have a characteristic sound. The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism. The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. The conception of the dance is a re-imagining of the movements of the Spanish matador in the bull ring. Close

Serenata Española (Impressions of Spain) arr. piano solo

Joaquin Malats Serenata Española from his Impressions of Spain arranged for piano solo. This is an intermediate level #piano solo. #sheetmusic link: Show More...

Joaquin Malats Serenata Española from his Impressions of Spain arranged for piano solo. This is an intermediate level #piano solo. #sheetmusic link: coming soon Great composers are well represented in sheet music editions both from the past and in the contemporary sense with academic and well researched modern editions. This is not the case with great pieces by possibly those not being recognised as great composers. Joaquin Malats Serenata Española from his Impressions of Spain is a work that falls in this category Use the signing up free credit facility to download the score. Improve music reading and performing skills by using PlentyMusic pdf sheet music & mp3 accompaniment downloads. Learn how easy it is to download PlentyMusic pdf & mp3 files from our website and make use of the user dashboard. A sunny piece that features many characteristics typical of Spanish music This a playable version of the Serenata Española although the arrangement does need to be evaluated and PlentyMusic would value feedback from pianists trying out this arrangement. It is possible that there are better octave options in the parts that could be explored. animando used in the score implies an increase in tempo and has been placed above the stave as a score marking There are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in composition. The music of composers from countries on the fringes of Europe started to appear in concert programmes. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests many images of the country. There is also much figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Spanish music is often dramatic and on occasions invites exaggeration in performance. Close

Chanson Triste arr. organ

Tchaikovsky’s ChansonTriste arranged for organ with pedals now available as a download. The organ realisation plays back at 100 quarter note (crotch Show More...

Tchaikovsky’s ChansonTriste arranged for organ with pedals now available as a download. The organ realisation plays back at 100 quarter note (crotchet) beats to the minute. In a playing context a slower tempo can be considered. In the arrangement there are a number of octave transpositions (upwards) in the pedal bass part and just a small number of voicing changes to the inner parts. One of Tchaikovsky’s most popular pieces composed in 1878 for piano this arrangement for organ with pedals is in the original key of G minor. It is a ternary form ABA movement in a reflective melancholy mood. It has a regular phrase structure and the melodic line needs to be played with a singing legato. When performing the music be aware that tempo changes particularly at the end of phrases are appropriate. The music needs to be delivered with expression and a broad range of dynamics. Playing the G minor in both the harmonic and melodic forms would be excellent preparation for playing this intermediate level work. There are almost hymn like characteristics in some of the chordal sections of this work reflecting the wonderful chordal writing of the composer’s vocal works. Whilst there are transpositions of his orchestral works for organ there are is no music specifically composed for organ. Close

June (Barcarolle) Opus 37 No.6 from The Seasons

June from P.I. Tchaikovsky’s Seasons Opus 37 No.6 dates from 1891 and is one of the composer’s most popular piano pieces. An example of music inte Show More...

June from P.I. Tchaikovsky’s Seasons Opus 37 No.6 dates from 1891 and is one of the composer’s most popular piano pieces. An example of music intended for the salon or drawing room it is described as a barcarolle. #sheetmusic pdf download link: coming soon The barcarolle as a composition has its origins as a folk song sung by Venetian gondoliers. In art music as a descriptive piece the music is often intended to imitate the sound of the gondoliers strokes and the rippling sounds of the water. This particularly applies to the closing section of Tchaikovsky’s June from bar 83 – 99. There is much score detail in the source scores available which very much illustrates how well music engraving and printing developed in the 19th century. The tempo indication is Andante cantabile whilst the realisation playing back at 80 quarter note or crotchets beats per minute in the first section from bars 1 -31 Tempo rubato, gradually speeding ups and slowing down, within the context of playing a phrase is relevant when performing this music. Pianists will need to research this playing approach in both their playing and listening to understand fully its implication as part of 19th century performance practice. The music editor has indicated arpeggiated chords to be played only when it is appropriate and in the light of current performance practice In the first section bars 1-31 the melody and accompaniment need to be played with a legato playing touch. A melancholy movement in character in the opening section there are nevertheless a variety of moods and tempo expressed during a performance of the whole movement. Some of the music is very simple although the middle section bars 32-51 in the tonic major key is more challenging technically with two changes of tempo and writing in which the texture is more full and complex. In a performance pianists should be looking to explore the full tonal and dynamic range of the instrument. Piano touch and articulations are elements that can be explored. The use of weight from the body through from the shoulders, arms, hands and fingers into the piano keys is something that with understanding and application can add interpretative value to a performance. Much of Tchaikovsky’s music can be arranged for other instrumental groups to perform and June offers many options for a solo instrument with piano accompaniment and both chamber and orchestral groups. The Tchaikovsky piano was essentially the modern instrument with an iron frame though the tonal range would not have been as broad as a grand piano of the 21st century. Use of the sustaining pedal is indicated in the score. The use of the sustaining pedal is dependent on so many factors in a performance particularly related to the quality of the piano and the acoustic of the performance area. The music editor’s view is a preference to under use rather than over use the sustaining pedal. Harmonies essentially should never be conflicted or smudged. Modern pianos are of course much more resonant than those of the past when being generous with the right foot could perhaps be tolerated. Using the sustaining pedal is quite a study in itself with quarter, half, three quarter and full pedalling Tchaikovsky travelled widely and would have been familiar with the Italian folk song barcorola describing a movement associated with boatmen and gondoliers with a characteristic rhythmic pattern imitating the rhythm of rowing. The context for much of Tchaikovsky’s salon and chamber music which was largely commissioned, was to compose ternary form music (ABA) using a popular dance rhythmic template of the time which included waltz, barcarolle, polka, mazurka amongst others. The middle part in two sections, one in quadruple time followed by an even faster one in triple time are faster in tempo faster in tempo and dance like in character requiring a lightness in the hands particular This middle section closes with a series of diminished seventh chords moving up the keyboard. After a brief two bar link the music of the A section returns as a varied repeat with the addition of some countemrodies and points of imitation largely sounded in the tenor line. There is considerable detail in the music score typical of printed music published in the late romantic period One of Tchaikovsky’s great skills as a composer was to be able to write music for all levels of performance expertise from beginner to improver, intermediate, advanced and virtuoso levels. The closing section or coda from bars 84 – 99 does reference and suggest imagery that relates to the composers reference to barcarolle in the music’s title. Close

Allegro (from Prelude, Fugue & Allegro BWV 998) | piano solo

The allegro is in binary form AB. The repeats are not played in the realisation. A brisk movement that needs to be played with a sense of there being Show More...

The allegro is in binary form AB. The repeats are not played in the realisation. A brisk movement that needs to be played with a sense of there being one beat in the bar. The realisation plays back at 68 bpm with the one in a bar beat being a dotted quarter note or crotchet Equal temperament tuning allowed Bach and others to discover and pursue new key options in their exploration of the cycle of fifths. As a brisk movement fingers need to be kept near the keys and the choice of fingers needs to be secure. The edited sheet music score with suggested fingering in place is a snapshot of how the music editor approached the playing of the work. A plain score is appended to the edited sheet music score. A legato touch needs to be demonstrated in the top line which has much diatonic step wise movement . There is opportunity to explore contrasting dynamics a reflection that this piece was originally intended to be played on the harpsichord. Ornamenation does not feature in this arrangement and the two main cadences feature at the end of the A section (bar 36) and at the end of the B section (bar 96). Remember that Bach’s music needs to be played with the clearest of intentions. The music editor favours a dry acoustic performing Bach’s music with minimal use of the sustaining pedal. Close

Chanson Triste (Sad Song)

One of Tchaikovsky’s most popular piano pieces composed in 1878 and in the key of G minor. It is a ternary form ABA movement in a reflective melanc Show More...

One of Tchaikovsky’s most popular piano pieces composed in 1878 and in the key of G minor. It is a ternary form ABA movement in a reflective melancholy mood. It has a regular phrase structure and the melodic line needs to be played with a singing legato. Pianists need to make appropriate use of the sustaining pedal although it is not indicated in the sheet music pdf. When performing the music be aware that tempo changes particularly at the end of phrases are appropriate. The music needs to be delivered with expression and a range of dynamics. Tchaikovsky tends to make use of the full range of the piano in his writing. There is a chromatic element in the harmonic writing particularly in the A section. Playing the G minor scale in both the harmonic and melodic forms would be excellent preparation for playing this intermediate level work. Listen to Sviatoslav Richter’s and others playing of this piece to gain an insight in how it is should be performed. There is much detail in the writing There are 12 piano pieces in the Opus 40 collection. Close

Dainty Doll | Novelty Piano Solo

Dainty Doll, by Bernard Barnes is a novelty piano solo, published in 1934. A movement full of charm it needs to be played in a swing style with a ligh Show More...

Dainty Doll, by Bernard Barnes is a novelty piano solo, published in 1934. A movement full of charm it needs to be played in a swing style with a light keyboard touch. The realisation plays back at 120 quarter note beats (crotchet) to the minute. The same tempo is used in each of the sections in the realisation apart from bars the two bar link (bars 43 & 44) where the tempo has been deliberately slowed before the return of the A section. Dainty Doll described as a Novelette dates from 1934. As a piano novelty solo played in a swing style some obvious ambiguities arise in terms of understanding the notation of the music. The music needs to be played with a lightness in the hands and the melodic ideas need to be articulated clearly. The triplet pattern features continually despite the ambiguity of the notation. While use of the sustaining pedal is recommended its use is not indicated in the music score. Formally the music can be described as A B C A with the key plan being D G C D. 16 bar phrases are evident in the structure in each of the sections Whilst there is a clear reference to the American march this is presented in an abridged form more suited to the performance of novelty piano music. Barney Barnes is also fond of using a two bar link just before the return of the A section preparing the return to the home key of D. The compositional style demonstrates many of the popular music cliches and formulas contemporary to the period of its writing. The 2 bar unit is very much the building block in novelty pieces of music with each building block being part of a conversation very much like the question and answer phrase structure that is frequently described in classical music A display of contrasting textures in each of the sections also tends to be evident. From the technical point of view novelty pieces certainly on the piano need to be understood as being advanced pieces and tempo instructions invariably should be interpreted as “play as fast as possible.” Harmonically many seventh chords are in evidence and the cycle of fifths often with the addition of chromatic notes provides the framework. Musicians will sense that this piece as is the case with much novelty music is suitable to be arranged for other instrument combinations because there are some evident accompaniment motives and the texture and pianistic writing suggests arrangement possibilities. It is a pity that there isn’t more Bernard Barnes sheet music available because his compositional style has great charm and appeal. As in much novelty piano music the interval of a fourth features in the melody line. Novelty music is very much a chordal based often with a strong chromatic element. The realisation plays back at 120 quarter note beats (crotchet) to the minute. Repetition features strongly in the piece and the spread chords in the left hand are necessary enabling pianists to manage stretches. Subtle changes of tempo do not feature in the realisation and generally music in this style needs to be played consistently with possibly some slowing down at the end of sections Bernard Barnes 1892 -1947 was born in Worcester (modern day West Midlands) in the UK and moved to the USA is his youth settling in Seattle where he worked as a cinema organist becoming an American citizen in 1922. He is associated with a mode of music making familiarly referred to as “photoplay” that is music intended to be played for silent movies. His day job was playing largely improvised organ music to accompany silent movies. In the video score some of the graphic score detail is hidden simply because it behaves inconsistently in this format. The pianos of the novelty era tended to have lighter touches that those of modern instruments which partly explains tempos from archive recordings. Certainly as a composer Barney Barnes is deserving of more attention and his popular piano novelties need to heard more often. The early radio and recording years were wonderful times for piano playing with the majority of well trained classical musicians having to decide on whether to pursue a career on traditional paths or embrace the new idioms of radio, cinema and related popular music idioms. Close

Dainty Miss | Novelty Piano Solo

Bernard Barnes 1892 -1947 was born in Worcester and moved to the USA is his youth settling in Seattle where he worked as a cinema organist becoming an Show More...

Bernard Barnes 1892 -1947 was born in Worcester and moved to the USA is his youth settling in Seattle where he worked as a cinema organist becoming an American citizen in 1922. He is associated with a mode of music making familiarly referred to as “photoplay” that is music intended to be played for silent movies. Dainty Miss described as a Novelette dates from 1924. Whist a piano novelty solo played in a swing style there are recordings available where the music is arranged for Palm Court Orchestra. The music needs to be played with a lightness in the hands and the melodic ideas need to be articulated clearly. It is quite a charming character piece that does not need to be played too quickly. The triplet pattern features continually despite the ambiguity of the notation. Crossing of hands (left over right hand feature in the second section of music which has the repeat. After the 16 bar trio section there is a two bar link leading to a reprise of the first section with a slightly different final cadence. The voice leading in bar 44 warrants some careful attention and possibly quite a bit of disagreement amongst piano players? A tempo of between 55-60 half note or minim beats to the minute is suggested. While use of the sustaining pedal is recommended its use is not indicated in the music score. The realisation plays back at 60 half note or minim beats to the minute. Close

C Chromatic Scale | Improver Level | Piano & Keyboard

The chromatic scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Show More...

The chromatic scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Free sheet music download: coming soon When learning the scale familiarise yourself with the sound and structure of the scale. There are some alternative fingering suggestions in place that can be considered. mp3 play-a-long tracks can be easily accessed and downloaded to a mobile phone from the website to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 84 quarter note or crotchet beats to the minute. Improve music practice routines and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. Remember that PlentyMusic scale drills are presented in a metrical context to provide an ensemble experience. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together two octaves contrary motion Do keep to the specified fingering Remember that in a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Thumb under & third & fourth finger over preparation is a crucial aspect of keyboard technique that needs to be practiced. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. Close

Scale of C natural minor | Improver Level | Piano & Keyboard

The natural minor scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tra Show More...

The natural minor scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Not relevant every day of the week or in music from the classical era where voice leading defaults to the melodic & harmonic versions of the scale. However it has a relevant context in much folk music. When learning the scale familiarise yourself with the sound and structure of the scale. In the c natural minor scale the 3rd 6th and 7th notes of scale are flattened. mp3 play-a-long tracks can be easily accessed and downloaded to a mobile phone from the PlentyMusic website to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) and are presented in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 108 quarter note or crotchet beats to the minute. Improve music practice routines and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. PlentyMusic scale practice exercises are designed to improve technical skills and are presented in a metrical context enabling keyboard players to practice and improve their technical & aural skills as part of an ensemble playing activity. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: right hand two octaves left hand two octaves right and left hands together two octaves similar motion right and left hands together two octaves contrary motion Keep to the specified fingering Remember that in a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but at the same time they need to be played with engagement and concentration Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys. The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. Close

Bubbling Over | Novelty Piano

Bubbling Over is a novelty piano solo by Carroll Gibbons published in 1937. The playback tempo of the realisation is 84 half note or minim beats to th Show More...

Bubbling Over is a novelty piano solo by Carroll Gibbons published in 1937. The playback tempo of the realisation is 84 half note or minim beats to the minute and 72 half note bpm in the section from bars 79 to 110. It is a movement that needs to be played in a swing style. Carroll Gibbons was a wonderful musical talent and pianist kept busy at the Savoy Hotel in the war years. Broadcasting on a regular basis his playing is well documented in the recording sense although sadly not much of his piano music is available in print. Although American by birth he lived and worked in England. The quality of his musicianship is down to a combination his wonderful knowledge of chords, a repertoire largely based on the songbooks of the 1930’s & 40’s combined with experience leading bands in his working years. For the enthusiast there is archive material to discover on Carroll Gibbons. His performances particularly of popular songs are well documented with many broadcasts and recordings of his music available on streaming media. He is associated with many of the finest artists of his day including the singers Anne Lenner and Hildegarde. Pianists intending to play this particular piece well will need to have an excellent piano technique. Many of the techniques that feature in the popular piano styles of the 20th century can be identified in Bubbling Over. A light piano touch is needed and players need to play accurately and above all with rhythmic security and command. Gibbons is fond of using 2 bar links enabling him to change the mood and key in his music and there is an example of this from bar 77-78. Managing the weight in the hands is crucial in performing complex chordal music like this on a piano. It’s probably best to learn the movement as three separate sections and then perform the work as a whole. Careful attention needs to be paid to the note reading and the stretches in both hands need to be carefully managed. The swing style of playing requires the music to be performed with a triplet feel and this is not particularly well represented on the sheet music page with clarity. This is the reason why it is important and necessary for pianists to listen to Carroll Gibbons recordings playing his own music. The chromatic element in the writing is strong. The pianos in England when this music was composed were often made by Challen which had quite a light touch. Bubbling Over is described as a Foxtrot and has a sectional structure. After a 4 bar introduction there is a 35 bar A section in the key of D succeeded by a 32 bar B section in the key of F. After a two bar link this is followed by a 32 bar section in the key of G with the final section being a repeat of the opening Section A with the addition of a 6 bar coda. The A section is very typical of novelty music style whilst the B section is chordal in character. Section C features cross hand playing with the melody played in the tenor line with a bass line and off beat chords succeeded by the repetition of the A section and coda. His arrangements demonstrate a great awareness of harmonic colouring in both the choice of chords in the harmonic progression sense and the additional notes added to chords. Close

Blues Scale in C | Straight | Piano Keyboard

The blues scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Impr Show More...

The blues scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Free sheet music download: The scale needs to be played as notated and straight refers to the fact that it is to be played evenly with the avoidance on any rhythmic emphasis. In the blues scale the 3rd and 7th notes are flattened. When learning the scale familiarise yourself with the sound and structure of the scale. This scale has been notated using accidentals because it is outside the major minor tonal system. Playing blues scales introduces players to other cultural and geographical aspects of music. Playing blues scales provide different sounds and challenge to the musical ear and help develop and broaden listening skills. mp3 play-a-long tracks can be easily accessed and downloaded to a mobile phone from the website to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) and are presented in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 72 quarter note or crotchet beats to the minute. Improve music practice routines and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. PlentyMusic scale practice exercises are designed to improve technical skills and are presented in a metrical context enabling keyboard players to practice and improve their technical & aural skills as part of an ensemble playing activity. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: right hand two octaves left hand two octaves right and left hands together two octaves similar motion right and left hands together two octaves contrary motion Keep to the specified fingering Remember that In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but at the same time they need to be played with engagement and concentration Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys. Close

Blues Scale in C | Swing | Piano Keyboard

The blues scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Impr Show More...

The blues scale starting on C presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Free sheet music download: The scale needs to be played as notated and swing refers to the fact that the pattern of three notes are to be played in a triplet pattern. Triplets involves playing three eighth or quaver notes for each beat and is a characteristic feature of swing music. Swing playing started featuring in popular music in the early 20th century and is a strong feature in many popular styles performed today particularly in the jazz and blues music area. There are often ambiguities in the way that swing music is notated. When learning the scale familiarise yourself with the sound and structure of the scale. In the blues scale the 3rd and 7th notes are flattened. This scale has been notated using accidentals because it is outside the major minor tonal system. Playing blues scales introduces players to other cultural and geographical aspects of music. Playing blues scales provide different sounds and challenge to the musical ear and help develop and broaden listening skills. mp3 play-a-long tracks can be easily accessed and downloaded to a mobile phone from the website to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) and are presented in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 72 quarter note or crotchet beats to the minute. Improve music practice routines and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. PlentyMusic scale practice exercises are designed to improve technical skills and are presented in a metrical context enabling keyboard players to practice and improve their technical & aural skills as part of an ensemble playing activity. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: right hand two octaves left hand two octaves right and left hands together two octaves similar motion right and left hands together two octaves contrary motion Keep to the specified fingering Remember that In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but at the same time they need to be played with engagement and concentration Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys. The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. Close

Scale of C Mixolydian | Improver Level | Piano & Keyboard

The scale of C Mixolydian mode presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Imp Show More...

The scale of C Mixolydian mode presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. When learning the scale familiarise yourself with the sound and structure of the scale. Playing modal scales introduces players & listeners to other cultural and geographical aspects of music. Playing modal scales offer a different sound and challenge to the musical ear and help develop and broaden listening skills. mp3 play-a-long tracks can be easily accessed and downloaded to a mobile phone from the website to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 84 quarter note or crotchet beats to the minute. Improve music practice routines and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. Remember that PlentyMusic scale drills are presented in a metrical context to provide an ensemble experience. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together two octaves contrary motion Do keep to the specified fingering Remember that In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Thumb under & third & fourth finger over preparation is a crucial aspect of keyboard technique that needs to be practiced. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Close

Polly | Novelty Piano

J.S. Zamecnik’s Polly a noveltypiano solo was published in 1926. A lively movement it need to be played in a swing style. The novelty pianists we Show More...

J.S. Zamecnik’s Polly a noveltypiano solo was published in 1926. A lively movement it need to be played in a swing style. The novelty pianists were unique musicians and performers generally possessing great keyboard technique and frequently were well trained musicians. They were attracted to playing music in the popular popular music style pretty much established by Scott Joplin and others in the ragtime era. Whilst the realisation plays back at 66 half note or minim beats to the minute the movement can and is often played much faster. In the video score some of the score detail has been hidden because graphics behave inconsistently in this format. The conventions used in the notation of swing music are confusing but it is communicating the swing style element that is important. The triplet pattern is the key rhythmic element. Novelty pieces were generally composed in American March form. Where novelty pianists and composers are particularly inventive is in their choices of rhythmic shapes and the clarity in the harmonic journey and direction of their music. John Stepan Zamecnik had a successful career as a composer of music for film or more accurately silent films commonly referred to as photoplay music. As a composer he frequently used pseudonms, Whilst American by birth he studied music in Prague with Dvorak in the mid 1890's. Much of his working life was spent in the city of Cleveland. Close

Scale of E Dorian Mode | Improver Level | Piano & Keyboard

The scale of E Dorian mode presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing t Show More...

The scale of E Dorian mode presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing. When learning the scale get the sound in your head by singing it. The promise as such of the modal scales is that they introduce listeners and players to many other cultural aspects of music. Playing modal scales offer a different sound and challenge to the musical ear and an and helps develop and broaden listening skill. mp3 play-a-long tracks can be easily accessed and played back on a mobile phone from the website to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 84 quarter note or crotchet beats to the minute. Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. Remember that PlentyMusic scale drills are presented in a metrical context. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together two octaves contrary motion Do keep to the specified fingering Remember that In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Thumb under & third & fourth finger over preparation is a crucial aspect of keyboard technique that needs to be practiced. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There will be other challenges to scale practice in the future. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Close

Summer Rain

Summer Rain by Carroll Gibbons, is an advanced level novelty piano solo, composed in 1937. The realisation plays back at 84 half note or minim beats Show More...

Summer Rain by Carroll Gibbons, is an advanced level novelty piano solo, composed in 1937. The realisation plays back at 84 half note or minim beats in the swing triplet sections and 64 half note or minim beats in all the straight slower section. Swing playing involves playing the eighth notes or quavers in a triplet pattern or context. The swing aspect to the piano playing means that the music has to be approached with a lightness in the hands and arms. In novelty piano music the full range of the 88 note piano keyboard is often explored. The music editor suggests learning this piece in sections subsequently playing whole phrases and sections. The tempo instruction is essentially “play the music as fast as you dare.” The left hand stretches from bar 10 need to be managed by rolling the hand left to right so that the notes sound using a technique borrowed from the contemporary stride piano era. At bar 20 the music editor suggests that the reverse process is in place in that the rolling effect this time is from right to left. Appreciate that the notation of music in all its idioms and styles is sometimes challenging and ambiguous to understand. The 8 bar introduction is played in a straight rhythm. The section from bar 9 to bar 68 is played in a swing style meaning that the music needs to be played with a triplet feel. This is followed by a 4 bar link in straight rhythm preceding a slower section from bar 73 to bar 104 also played without a swing feel. The final section from bar 104 to 144 is again in a swing style returning to the idiom and style of bars 6-65. In context this final section is best considered as a play out quite relevant in the broadcasting of music at the time. The sections played in a swing style need to be approached with a lightness in the hands and stretches need to be managed and practiced. The writing is pianistic meaning that the chord choices and voicing are playable. The chromatic element is also strong. Take note of the tempo changes and dynamic markings because they certainly assist in making a performance manageable. The use of the sustaining pedal is essential when performing this style of music composed at a time when there were many fine piano manufacturers were in business in the UK. The music editor has not been able to source as many recordings of this novelty piece as he anticipated in the preparation of the score. Additionally there is the suggestion that the notated copy of Summer Rain is very much a musical sketch. Interpret some or all of the “sketch” as you wish. Novelty pianists in the 1920 and 1930’s were generally well trained musicians who decided on a career choice to play, arrange and compose music in the many popular music idioms and styles that emerged in the 1920’s and 30’s. Broadcast opportunities, the recording and film industries also provided additional incentives and motivation. Playing through the repertoire of this great period of song writing 1920- 1940’s enabled GIbbons and other contemporary pianists to acquire a unique knowledge of chords and harmonic options and choices available when it came to composing their own music. Carroll Gibbons was a most gifted pianist although other novelty pianists and composers have left more extensive legacies of notated and published music. Carroll Gibbons was an exceptional music performer and he left a rich recording legacy although sadly only a few instrumental pieces were published for piano. The strength of Gibbon’s writing is in the inventiveness of both the rhythmic and melodic elements combined with a nuanced choice of chords. The fully voiced chord choices in the piano writing more than suggest his background as a band leader. His piano touch and technique were unique – he was a quite exceptional musical leader and performer. Carroll Gibbons, although born in America, became a London based pianist and band leader working at the Savoy Hotel and leading the Savoy Opheans. He worked for HMV as Director of Light Music and recorded extensively with a small combo group known as Carroll Gibbons and his Boyfriends. The recording legacy of popular songs of the day features singers Anne Lenner and Hildegarde. He was a wonderful pianist and there are a few clips of his playing can be seen on YouTube. Close

Nola arr. piano duet

Nola by Felix Arndt in an arrangement for piano duet by John Zamecnik. Nola is frequently referred to as the first novelty piano piece, a musical idio Show More...

Nola by Felix Arndt in an arrangement for piano duet by John Zamecnik. Nola is frequently referred to as the first novelty piano piece, a musical idiom emerging from the ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit. Piano accompaniments are in place allowing duo players to participate in play-a-long ensemble activities as part of music practice routines. The accompaniment tracks play back at 58, 60, 62, 64 & 66 & 68 half note (minim) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks The primo part is on one side of the stereo channel and the secondo part on the other. John Zamecnik was a gifted Ameican composer, conductor and arranger of Czech extraction who studied at the Prague Conservatory of Music with Dvorak,. He is mainly known for his silent movie scores often composed using pseudonyms and published by Samuel Fox. He lived in Cleveland. The 2/2 time signature indicates that Nola needs to be played with a sense of two beats in the bar Both referencing and understanding the swing style this music needs to played with a clrear understanding meaning that the triplet figuration prevails. Arndt was a New York based composer and pianist who tragically died during the Spanish Flu epidemic in 1919. Sections need to be played at the same tempo and there is little opportunity for slowing down at the end of phrases and sections. Some of the score detail, particularly phrase markings have been hidden in the #sheetmusic video score simply because the associated graphics behave inconsistently in this format. This is music that moves along quickly but also needs to played in a completely relaxed manner. Tension in the fingers, hands and arms is something to be avoided and this can be partly achieved by keeping a lightness in the hands and arms and secure fingering. Fingers need to be close to the keys. Nola is brimming with musical ideas and inventiveness and is a very “modern” sounding work for 1915. As a musical snapshot of its time it references the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms. The left hand playing style of the bass and chords owes its origins to the ragtime era. Contrasting and repeating sections are in evidence whilst the formal pattern of the music is A B A C D C A with an 8 bar coda at the end. The composer does not make use of repeat signs. The key plan can be summarised as I – i – I – IV - I The novelty era has a strong connection with ragtime particularly in its formal patterns and musical shapes. Whilst the repetitive element is strong the composer does not make use of repeat signs. The music editor’s observation is that Felix Arndt was a hugely talented, imaginative and inventive composer and it is a tragedy that he did not live longer to compose music that similarly anticipated future trends. He left the music world with the potential to achieve so much. Born in 1889 if he had lived his entitled three score years and ten he could have lived until 1959 and would have been a contemporary with so many other greats. It is also ironic because 1959 is the year that a version of Nola achieved success in the pop charts. What is so evident is that he had a wonderful understanding of harmonic colour and the relevance of chords in the popular music idiom. He can be truly described as a musical forerunner. Apart from the abundance of musical ideas it is understanding of the harmonic framework which makes his music so appealing. There are also several dance step references in the music The triplet swing pattern additionally imbues this music. Close

Moonbeams Dance

Moonbeams Dance by Carroll Gibbons needs to be played in a swing style meaning that a triplet feel needs to be communicated in performances of the mus Show More...

Moonbeams Dance by Carroll Gibbons needs to be played in a swing style meaning that a triplet feel needs to be communicated in performances of the music. Novelty piano succeeded the ragtime era of the early 20th century. The realisation plays back at a tempo of 110 bpm. Much novelty music was written for the piano and many of the pianists were simply wizards in terms of their skill at playing the instrument. That said there is a strong repetitive element in the musical style which enable challenges to be managed. There are many technical challenges to manage when playing this movement and they can be mastered if each is identified and practiced methodically whilst retaining a lightness in the hands. The music editor deliberately avoids putting more than one articulation marking on a note. The rôle of the left hand is to essentially play the bass and accompanying chords. The left hand stretches often involve leaps of a tenth and more and in this respect there is a connection with stride piano which is a related style also emerging from ragtime piano. Novelty piano music tends to be played at a fast tempo. The 110 quarter note beats to the minute tempo in the sheet music video score is, the music editor suggests, a rather cautious tempo. Carroll Gibbons was a American pianist, composer and band leader largely remembered for his recordings and performances in London during the 1930’s & 1940’s. A wonderful piano player there are a few video clips available on YouTube that can be viewed to observe the great facility and technique that he possessed. The music combines bass & chord with an inventive and energetic melody line. The musical ideas and figuration that feature in Moonbeams Dance are understandably pianistic and fourths are a strong feature in the repeating A section. The phrase structure generally refences the characteristic 8 bar patterns typical of music from the dance band era with which Carroll Gibbons was closely associated. A knowledge of chords and how they are described is a requirement playing this and many other popular music styles. The chromatic element is also quite strong. The sectional form of the movement can be summarised as follows: Intro A B A C D A Coda Close

Nola

Nola by Felix Arndt dates from 1915. It is frequently referred to as the first novelty piano piece, a musical idiom emerging from the #ragtime era. Li Show More...

Nola by Felix Arndt dates from 1915. It is frequently referred to as the first novelty piano piece, a musical idiom emerging from the #ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit. Nola needs to be played in a swing style simply meaning that the triplet figuration prevails. Arndt was a New York based composer and pianist who died during the Spanish Flu epidemic in 1919. Sections need to be played at the same tempo and there is little opportunity for slowing down at the end of phrases and sections. Some of the score detail, particularly phrase markings have been hidden in the sheetmusic video score simply because the associated graphics behave inconsistently in this format. This is music that moves along quickly but also needs to played in a completely relaxed manner. Tension in the fingers, hands and arms is something to be avoided and this can be partly achieved by keeping a lightness in the hands and arms and secure fingering. Fingers need to be close to the keys. Nola is brimming with musical ideas and inventiveness and is a very “modern” sounding work for 1915. As a musical snapshot of its time it references the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms. The left hand playing style of the bass and chords owes its origins to the ragtime era. Contrasting and repeating sections are in evidence whilst the formal pattern of the music is A B A C D C A with an 8 bar coda at the end. The composer does not make use of repeat signs. The key plan can be summarised as D – D minor – D – G - D Novelty piano music has a strong connection with ragtime particularly in its formal patterns and shapes. Whilst the repetitive element is strong the composer does not make use of repeat signs. Close

Scale of F melodic minor | Improver Level | Piano & Keyboard

The scale of F melodic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level s Show More...

The scale of F melodic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Download the mp3’s to a mobile phone or tablet to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads. Each scale in this drill is played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: right hand two octaves | left hand two octaves | right and left hands together two octaves similar motion | right and left hands together two octaves contrary motion. Do keep to the specified fingering. In a sitting position the level of the keyboard should be 72.5cms above floor level. Check this although if you are in a standing position when practising or warming up it maybe be more relevant to adjust the keyboard level. At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve much repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional future challenges from PlentyMusic as to how scales can be played. Under/over thumb & finger preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in future video posts. Please feedback to PlentyMusic on any additional warm ups or practice drills required Look out for the PlentyMusic videos in the future with practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do constantly have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other music performance contexts fingers need to be both relaxed and close to the keys Do understand the rôle playing aspect of playing a keyboard instrument | the weight of the arm & hand should be imagined to be being released or even flowing out through the finger tips. As a mental exercise this is a challenge. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Don’t get stuck in the mud (too much unnecessary repeated practice) is the best advice. Close

Scale of F harmonic minor | Improver Level | Piano & Keyboard

The scale of F harmonic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level Show More...

The scale of F harmonic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Download the mp3’s to a mobile phone to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads. Each scale in this drill is played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: right hand two octaves | left hand two octaves | right and left hands together two octaves similar motion | right and left hands together two octaves contrary motion Do keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level. Check this although if you are in a standing position when practising or warming up it maybe be more relevant to adjust the keyboard level. At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve much repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional future challenges from PlentyMusic as to how scales can be played. Under/over thumb & finger preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in future video posts. Please feedback to PlentyMusic on any additional warm ups or practice drills required Look out for the PlentyMusic videos in the future with practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do constantly have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other music performance contexts fingers need to be both relaxed and close to the keys Do understand the rôle playing aspect of playing a keyboard instrument | the weight of the arm & hand should be imagined to be being released or even flowing out through the finger tips. As a mental exercise this is a challenge. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Don’t get stuck in the mud (too much unnecessary repeated practice) is the best advice. Close

Scale of C melodic minor | Improver Level | Piano & Keyboard

The scale of C melodic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level s Show More...

The scale of C melodic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Download the mp3’s to a mobile phone to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads. Each scale in this drill is played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: right hand two octaves | left hand two octaves | right and left hands together two octaves similar motion | right and left hands together two octaves contrary motion . Do keep to the specified fingering. In a sitting position the level of the keyboard should be 72.5cms above floor level. Check this although if you are in a standing position when practising or warming up it maybe be more relevant to adjust the keyboard level. At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve much repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional future challenges from PlentyMusic as to how scales can be played. Under/over thumb & finger preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in future video posts. Please feedback to PlentyMusic on any additional warm ups or practice drills required Look out for the PlentyMusic videos in the future with practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do constantly have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other music performance contexts fingers need to be both relaxed and close to the keys Do understand the rôle playing aspect of playing a keyboard instrument | the weight of the arm & hand should be imagined to be being released or even flowing out through the finger tips. As a mental exercise this is a challenge. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Don’t get stuck in the mud (too much unnecessary repeated practice) is the best advice. Close

Scale of C harmonic minor | Improver Level | Piano & Keyboard

The scale of C harmonic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level Show More...

The scale of C harmonic minor presented as a practice drill where keyboard & piano players can play-a-long & accompany backing tracks. Improver level scales involve 2 octave playing. Download the mp3’s to a mobile phone to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads. Each scale in this drill is played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: right hand two octaves | left hand two octaves | right and left hands together two octaves similar motion | right and left hands together two octaves contrary motion Do keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level. Check this although if you are in a standing position when practising or warming up it maybe be more relevant to adjust the keyboard level. At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve much repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional future challenges from PlentyMusic as to how scales can be played. Under/over thumb & finger preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in future video posts. Please feedback to PlentyMusic on any additional warm ups or practice drills required Look out for the PlentyMusic videos in the future with practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do constantly have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other music performance contexts fingers need to be both relaxed and close to the keys Do understand the rôle playing aspect of playing a keyboard instrument | the weight of the arm & hand should be imagined to be being released or even flowing out through the finger tips. As a mental exercise this is a challenge. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Don’t get stuck in the mud (too much unnecessary repeated practice) is the best advice. Close

Scale of A major | Improver Level | Piano & Keyboard

The scale of A major presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Show More...

The scale of A major presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing. The major scale has the following structure/ pattern Tone | Tone | Semitone | Tone | Tone | Tone | Semitone The pattern is repeated going both up and down the scale. Play the scale slowly in the first instance until the sound and shape are familiar. More improver scales and backing tracks are available on the PlentyMusic website. Download mp3’s to a mobile phone to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) Improve music practice and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads. Each scale is played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together one octave contrary motion Do keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional challenges from PlentyMusic as to how scales can be played. Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video posts. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Look out for the PlentyMusic videos later in the year with practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Why practice scales? Scale practice does help in improving technique and spatial awareness of the keyboard layout. Security in playing scales means that the fingers get used to being in the right place. Playing scales is good preparation for playing more difficult pieces Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view. If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique. Playing scales encourages the development of a secure and controlled technique in playing. Playing scales particularly when playing in contrary motion encourages independence of the hands. Playing scales is helpful in managing stretches and stresses in keyboard playing. Close

Scale of G melodic minor | Improver Level | Piano & Keyboard

The scale of G melodic minor presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing Show More...

The scale of G melodic minor presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing. The melodic minor scale is a challenge because the notes going up and down the scale are different. The structure of the scale going up is: tone | semitone | tone| tone | tone | tone |semitone and the structure going down is tone | tone | semitone | tone | tone | semitone | tone When learning the minor scale in whatever form the scale needs to be played slowly in the first instance until the sound and shape are familiar. Playing the harmonic minor scale is an easier option because the same notes are played going up and down the scale. More improver scales and backing tracks are available on the PlentyMusic website. Download mp3’s to a mobile phone to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm). The playback score on the free mp3 download is 84bpm. Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads. Each scale is played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together one octave contrary motion Do keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional challenges from PlentyMusic as to how scales can be played. Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video posts. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Look out for the PlentyMusic videos later in the year with practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Close

Scale of G harmonic minor | Improver Level | Piano & Keyboard

The scale of G harmonic minor presented as a practice drill or warm up where keyboard & # piano players can # play-a-long & accompany the available ba Show More...

The scale of G harmonic minor presented as a practice drill or warm up where keyboard & # piano players can # play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing. More improver scales and backing tracks are available on the PlentyMusic website and Download mp3’s to a mobile phone to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) Improve music practice and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads. Each scale is played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together one octave contrary motion Do keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional challenges from PlentyMusic as to how scales can be played. Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Look out for the PlentyMusic videos later in the year with practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Close

Scale of D Improver Level | Piano & Keyboard

The scale of D presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Impro Show More...

The scale of D presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing. The backing tracks are available on the PlentyMusic website. Access them on a mobile phone to improve your music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm). The example mp3 plays back at a tempo of 120bpm. Improve music practice and make progress with PlentyMusic pdf sheet music & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together one octave contrary motion Do keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional challenges from PlentyMusic as to how scales can be played. Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other challenges coming soon as your playing progresses and improves. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Why practice scales? Scale practice does help in improving technique and spatial awareness of the keyboard layout. Security in playing scales means that the fingers get used to being in the right place. Playing scales is good preparation for playing more difficult pieces Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view. If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique. Playing scales encourages the development of a secure and controlled technique in playing. Playing scales particularly when playing in contrary motion encourages independence of the hands. Playing scales is helpful in managing stretches and stresses in keyboard playing. Close

Scale of E minor | Improver Level | Piano & Keyboard

The scale of E minor in its harmonic version presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the a Show More...

The scale of E minor in its harmonic version presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing Mp3 can be easily accessed and played back on a mobile phone from the website to improve music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm). The mp3 on the audition free download plays back at 84 quarter note or crotchet beats to the minute. Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together two octaves contrary motion Do keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional challenges from PlentyMusic as to how scales can be played.. Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other challenges coming soon as your playing progresses and improves. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Why practice scales? Scale practice does help in improving technique and spatial awareness of the keyboard layout. Security in playing scales means that the fingers get used to being in the right place at the right time.. Playing scales is good preparation for playing more difficult pieces Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view. If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique. Playing scales encourages the development of a secure and controlled technique in playing. Playing scales particularly when playing in contrary motion encourages independence of the hands. Playing scales is helpful in managing stretches and stresses in keyboard playing. Close

Scale of D minor | Improver Level | Piano & Keyboard

The scale of D minor in its harmonic version presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the a Show More...

The scale of D minor in its harmonic version presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing track. Improver level scales involve 2 octave playing. The playback tempo in the music example is 96bpm. Mp3 can be easily accessed on a mobile phone to improve your music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) in 12 bpm steps (60, 72, 84, 96, 108, 120, 132 & 144bpm) Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together two octaves contrary motion Do keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional challenges from PlentyMusic as to how scales can be played.. Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other challenges coming soon as your playing progresses and improves. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Why practice scales? Scale practice does help in improving technique and spatial awareness of the keyboard layout. Security in playing scales means that the fingers get used to being in the right place at the right time.. Playing scales is good preparation for playing more difficult pieces Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view. If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique. Playing scales encourages the development of a secure and controlled technique in playing. Playing scales particularly when playing in contrary motion encourages independence of the hands. Playing scales is helpful in managing stretches and stresses in keyboard playing. Close

Scale of G | Improver Level | Piano & Keyboard

The scale of G presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing track. Improv Show More...

The scale of G presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing track. Improver level scales involve 2 octave playing. The backing tracks are available both on the PlentyMusic website and our YouTube channel. Access them on a mobile phone to improve your music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) Improve music practice and make progress with PlentyMusic pdf sheetmusic & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. An ideal performance context for this scale is Franz Schubert’s Children’s March D. XX arranged for piano duet A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together one octave contrary motion Do keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional challenges from PlentyMusic as to how scales can be played. Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other challenges coming soon as your playing progresses and improves. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Why practice scales? Scale practice does help in improving technique and spatial awareness of the keyboard layout. Security in playing scales means that the fingers get used to being in the right place. Playing scales is good preparation for playing more difficult pieces Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view. If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique. Playing scales encourages the development of a secure and controlled technique in playing. Playing scales particularly when playing in contrary motion encourages independence of the hands. Playing scales is helpful in managing stretches and stresses in keyboard playing. Close

Scale of F | Improver Level | Piano & Keyboard

The scale of F major presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Show More...

The scale of F major presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing. The sheet music is available as a free score. Access the backing tracks from a mobile phone to improve music practice routines. The accompaniment tracks have a range of tempo from 60 through to 144 beats per minute (bpm) in incremental jumps of 12 beats to the minute. Each scale is to be played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together one octave contrary motion Keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional challenges from PlentyMusic as to how scales can be played. The thumb under third and fourth finger movement together with third and fourth finger over the thumb are movements in playing the scale that merit particularly attention. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other PlentyMusic technical challenges coming soon to help keyboard players make progress and improve. When playing scales as in most music performance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Why practice scales? Scale practice does help in improving technique and spatial awareness of the keyboard layout. Security in playing scales means that the fingers become familiar to being in the right place and the right time. Playing scales is good preparation for playing more difficult pieces Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view. If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique. Playing scales encourages the development of a secure and controlled technique in playing. Playing scales particularly when playing in contrary motion encourages independence of the hands. Playing scales is helpful in managing stretches and stresses in keyboard playing. pdf sheet music scores and mp3 accompaniments can be downloaded from the PlentyMusic website. Close

Scale of B Flat | Improver Level | Piano & Keyboard

The scale of Bb major presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backingtrack. Show More...

The scale of Bb major presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backingtrack. Improver level scales involve 2 octave playing. The sheet music is available as a free score Access the backing tracks from a mobile phone to improve your music practice routines. The accompaniment tracks have a range of tempo from 60 throug to 144 beats per minute (bpm) in incremental jumps of 12 beats to the minute. Each scale is to be played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together one octave contrary motion Keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional challenges from PlentyMusic as to how scales can be played. The thumb under third and fourth finger movement together with third and fourth finger over the thumb are movements in playing the scale that merit particularly attention. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other PlentyMusic technical challenges coming soon to help keyboard players make progress and improve. When playing scales as in most music performance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Close

Invention 5 BWV 776

J.S.Bach’s Invention No. 5 BWV 776 in Eb is a dynamic and lively movement featuring patterns and shapes that have a strong unifying element. In the Show More...

J.S.Bach’s Invention No. 5 BWV 776 in Eb is a dynamic and lively movement featuring patterns and shapes that have a strong unifying element. In the sheet music video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel the ornaments have been written out in full to clarify how they should be played. In this energetic and lively invention the lower mordent is a particular features. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. As for many of the inventions it is possibly a good idea to play the first two bars (possibly 4 bars) until they are known thoroughly before progressing to the rest of the movement. The inventions provide excellent opportunities for musicians to improve and develop a secure keyboard technique. Suggested fingering in this invention is frequently based on the direction in which the hands are moving particularly relevant for this movement because both hands are busy. An engaging and dynamic performance piece that needs to played at around 88 - 100 quarter note or crotchet beats to the minute. On the compositional processes front the sequence is quite an evident compositional process in this invention Remember that music needs to be performed slowly before it can be performed quickly. The last bar has been edited to represent current performance practice. 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 keyboard technique. On a piano or weighted keyboard there is an opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Keyboard players will find it rewarding to listen to performances of this invention on streaming platforms to get a sense of the importance of this aspect of piano playing. A plain score is attached to the edited music score available as a pdf download from the PlentyMusic website. Close

Invention 2 BWV 773

J.S.Bach’s Invention 2 BWV 773 is an intermediate level movement in the key of C minor. It needs to be played with a legato touch. The playback t Show More...

J.S.Bach’s Invention 2 BWV 773 is an intermediate level movement in the key of C minor. It needs to be played with a legato touch. The playback tempo of the realisation is 52 beats per minute (bpm) and the music editor suggests omitting the ornaments when learning the piece. Like many of the inventions it that can be played on a range of keyboard instruments and by a number of different instrument combinations. To understand how the ornaments should be played keyboard players can refer to the sheet music video on the PlentyMusic You Tube channel. In this video the ornaments have been written out in full to clarify how they should be played. The inventions composed in two parts or voices are concentrated and demanding movements to play. In these works it is important to keep to keep to the length of the written note values Keyboard players will need to their fingers close to the keys and play with a lightness in the hands. Pianists will perhaps recognise that the weaker fingers need some extra practice and to solve this issue the music editor suggests practising thirds. There is opportunity to explore right hand over left playing (bar 18) and changing fingering on a repeated note. The opening shape or motif is quite long and the mood of this invention is quite melancholy with a characteristic minor 7th interval. The movement needs to played evenly and consistently with a legato touch and keyboard players will need to play with a lightness in the hands. Ornaments are in place but possibly can be omitted in the early stages of learning the piece. The inventions were originally intended to be played on the harpsichord and there is more than one suggestion of a two manual instrument in this particular invention. Composed in the key of C minor the key journey is confined to the closely related keys of the dominant (bar 7), relative minor (bar 15) and sub-dominant (bar 20). Keys, understand, are not always established as such but are described as passing modulations in the baroque era. A key or change of key is generally thought of being established when there is a cadence which tends to be more the case in music from the classical era. 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 keyboard technique. A plain score is attached to the edited music score available as a pdf download from the PlentyMusic website. Close

Invention 2 | piano & keyboard

J.S.Bach’s Invention 2 BWV 773 is an intermediate level movement in the key of C minor. It needs to be played with a legato touch. The playback t Show More...

J.S.Bach’s Invention 2 BWV 773 is an intermediate level movement in the key of C minor. It needs to be played with a legato touch. The playback tempo of the realisation is 52 beats per minute (bpm) and the music editor suggests omitting the ornaments when learning the piece. Like many of the inventions it that can be played on a range of keyboard instruments and by a number of different instrument combinations. To understand how the ornaments should be played keyboard players can refer to the sheet music video on the PlentyMusic You Tube channel. In this video the ornaments have been written out in full to clarify how they should be played. The inventions composed in two parts or voices are concentrated and demanding movements to play. In these works it is important to keep to keep to the length of the written note values Keyboard players will need to their fingers close to the keys and play with a lightness in the hands. Pianists will perhaps recognise that the weaker fingers need some extra practice and to solve this issue the music editor suggests practising thirds. There is opportunity to explore right hand over left playing (bar 18) and changing fingering on a repeated note. The opening shape or motif is quite long and the mood of this invention is quite melancholy with a characteristic minor 7th interval. The movement needs to played evenly and consistently with a legato touch and keyboard players will need to play with a lightness in the hands. Ornaments are in place but possibly can be omitted in the early stages of learning the piece. The inventions were originally intended to be played on the harpsichord and there is more than one suggestion of a two manual instrument in this particular invention. Composed in the key of C minor the key journey is confined to the closely related keys of the dominant (bar 7), relative minor (bar 15) and sub-dominant (bar 20). Keys, understand, are not always established as such but are described as passing modulations in the baroque era. A key or change of key is generally thought of being established when there is a cadence which tends to be more the case in music from the classical era. 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 keyboard technique. A plain score is attached to the edited music score available as a pdf download from the PlentyMusic website. Close

Invention 15 BWV 786

J. S. Bach’s Invention 15 BWV 786 in B minor is a deliberate and purposeful movement possessing a haunting quality whilst allowing keyboard players Show More...

J. S. Bach’s Invention 15 BWV 786 in B minor is a deliberate and purposeful movement possessing a haunting quality whilst allowing keyboard players to explore keyboard touches where notes are articulated staccato and/or staccatissimo. The realisation plays back at 72 quarter note or crotchet beats to the minute. A movement that needs to be played with intention, consistency and purposefulness During practice routines keyboard players can vary their playing approach to encompass the different piano articulations that can be used playing the movement. The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and more or less and imitate current modern performance practice. Ornaments are applied consistently although there is scope for players to make some additions particularly at important cadence points in movements where the option of more notes in the cadential trills can be explored. In the video score, which keyboard 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. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. 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 keyboard technique. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is. A plain score is attached to the edited music score. Close

Invention 12 BWV 783

Invention 12 BWV 783 is in the key of A and is a movement that communicates purpose and intention. The music editor suggests that keyboard players sh Show More...

Invention 12 BWV 783 is in the key of A and is a movement that communicates purpose and intention. The music editor suggests that keyboard players should learn the movement in the first instance without the ornaments in place being played indicated in the sheet music score. What is important in delivering the intention of the music and the music only really becomes alive at the tempo of 68 dotted quarter note or dotted crotchet notes to the minute. At the same time it would be lovely to know what the tempo this invention was in Bach’s own time when there was no vision of the piano as becoming the keyboard instrument of choice The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and imitate current modern performance practice. The edited music score has suggested fingering in place although when it comes to playing the more complicated trills keyboard players will need to refer to the sheet music video score on the PlentyMusic YouTube channel to work out appropriate fingers to use for he playing of these ornaments. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Many keyboard players whether pianists or harpsichordists approach this invention as if they are playing a virtuoso work which in many ways is surprisingly because the movement was composed well before the time that this concept was suggested attributed to describe the playing of N. Paganini. 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 keyboard technique. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is. A plain score is attached to the edited music score. Close

Invention 11 BWV 782

J .S. Bach’s Invention 11 BWV 782 is a work exploring the scale of G minor. The chromatic element is quite strong and the resulting accidentals make Show More...

J .S. Bach’s Invention 11 BWV 782 is a work exploring the scale of G minor. The chromatic element is quite strong and the resulting accidentals make this a challenging score to read. The playback score has a tempo of 64 quarter note or crotchet beats to the minute. It is a movement that can be played at an even slower tempo than 64 bpm. Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing should be avoided. The music editor has avoided ornaments occurring in both voices at the same time. The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and more or less and imitate current modern performance practice. Ornaments are applied consistently although there is scope for players to make some additions particularly at important cadence points in movements where the option of more notes in the cadential trill can be explored. This is particularly the case in music played at relative slow tempi. In the video score the ornaments have been written out as they sound in the realisation to represent exactly what is being played. This invention provides an excellent opportunity for players to become familiar with the scale of G minor in both its harmonic and melodic minor forms. Players will possibly need to edit their scores with reminders about accidentals within the bar. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Playing levels will perhaps need to be reviewed when different instrument combinations are involved. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms to get a sense of how important an aspect of piano playing this is. 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 keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. Those learning how to use music notation software will find this another excellent study to copy simply because of the many accidentals that require attention. Close

Invention 10 BWV 781

Invention 10 BWV 781 in the key of G is a challenging invention to play simply from how individual keyboard players approach how to articulate the no Show More...

Invention 10 BWV 781 in the key of G is a challenging invention to play simply from how individual keyboard players approach how to articulate the notes point. It is interesting to observe the approaches to playing this movement. Many play the invention articulating the eighth note or quavers staccato while others play the movement with a legato touch. The former approach requires a lightness in the hands and can be a challenging to play because of the tension that is created in the hands and wrist. Players should listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. What is fascinating is to hear some of the greatest pianists and harpsichordists playing what are really considered to be basic learning pieces. The best way of learning anything about music is by listening although in this modern world video footage now offers a very supportive and complementary medium particularly when camera angles allow viewers to see what musician’s hands are during a performance. In the video score, which keyboard 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. Articulation markings are also indicated in this particular score. The music editor has avoided placing ornaments occurring at the same time in the two voices. The long trills occurring in bar 20 (treble clef) and bar 23 (bass clef) need to be played in a rhythmical and controlled manner with the left hand trill mirroring the right hand. The suggested fingering in place on the edited music score is frequently determined by the direction in which the music and the hands are moving. Remember that movements cannot be played quickly until they be played slowly! The music editor has chosen not to double ornaments where they occur in both voices simply because it lessens and contradicts the contrast in the parts. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is. 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 key system. 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 keyboard technique. A plain score is attached to the edited music score. Close

Invention 9 BWV 780 | piano & keyboard

J.S.Bach’s Invention No. 9 BWV 780 is a slow tempo movement in the key of F minor. A haunting and melancholy movement, the realisation plays back at Show More...

J.S.Bach’s Invention No. 9 BWV 780 is a slow tempo movement in the key of F minor. A haunting and melancholy movement, the realisation plays back at 60 quarter note or crotchet beats to the minute. It is a movement that can be played at an even slower tempo. Legato playing is also needed in a performance. The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and more or less and imitate current modern performance practice. Ornaments are applied consistently although there is scope for players to make some additions particularly at important cadence points in movements where the option of more notes in the trill can be explored. In the sheet music video score, which keyboard 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. Players may well possibly need to edit their scores with reminders about accidentals within the bar. Playing the scale of F minor in the harmonic and melodic versions will provide a valuable assist in preparing this invention for performance. F minor in much of J.S.Bach’s music is a key identified with melancholy and pathos particularly with a falling or sighing motif as heard in the opening of this invention. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. 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 keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. The intention in the duo arrangement is to help players become better ensemble players and to grow as musicians playing music as close to the composer’s intentions as possible. These are concentrated and demanding movements to play. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms to get a sense of how important an aspect of piano playing this is. Those learning how to use music notation software will find this an excellent and frustrating study to copy simply because of the many accidentals that require attention. A plain score is attached to the edited music score. Close

Invention 3 | piano & keyboard

J.S.Bach’s Invention No. 3 BWV 774 in the key of D offers rhythmic challenges to the keyboard player. It is an intermediate level movement with the Show More...

J.S.Bach’s Invention No. 3 BWV 774 in the key of D offers rhythmic challenges to the keyboard player. It is an intermediate level movement with the playback tempo of the realisation being 56 dotted quarter note or crotchet beats to the beats per minute (bpm) It is best to play the work with a sense of there being one beat to the bar. There are three scores available in the download i) and edited music score with suggested fingering in place and with the ornaments written out as in the sheet music video ii) a plain score and iii) an edited sheet music score with suggested fingering in place and the ornaments indicated. The music editor suggests that this a challenging invention to play. For those wishing for clarification as to how the ornaments should be played refer to the video score on the PlentyMusic YouTube channel. The ornaments are probably best omitted when learning the piece whilst fingers need to be kept as close as possible to the piano keys. Suggested fingering is in place in the edited score. The inventions are concentrated and demanding movements to play for the intermediate level player. This is an interesting Invention to study because of the wide variation in how the movement is performed particularly from the tempo point of view and the approach to playing the ornaments. Many pianists for example trill the long tied notes beginning at bar 26. The points of imitation at the start of the phrases are something that keyboard players need to particularly communicate in their playing. The Inventions benefit from being played with a lightness in the hands and consideration as to how notes are articulated. Exaggerated playing should be avoided and is not appropriate to this style. The limitations of the realisation is that the weight distribution between the hands is not truly represented in how the music should be played on the piano. 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 keyboard technique. A plain score is appended to the edited music score. Close

Invention 7 BWV 778

J.S.Bach’s Invention 7 BWV 778 is in the key of E minor. In the opening section the phrases end on the first eighth note quaver beat of the bar. Pl Show More...

J.S.Bach’s Invention 7 BWV 778 is in the key of E minor. In the opening section the phrases end on the first eighth note quaver beat of the bar. Playing the E minor scale in both its harmonic and melodic forms will provide excellent preparation for playing this invention. Bach’s inventiveness is usually demonstrated in formal templates familiar to him and those either playing or listening to his music. Both vocal and instrumental models are used. The music editor believes the best way of approaching the playing of this work is with an essentially legato touch with some variation in touch in place in the bars where the line is in eighth notes or quavers and ornaments are not being played. In all music beauty of sound combined with interpretative intention must be aim of the musician(s) involved. One of the most interesting aspects of this invention is the variety of performance approaches that are demonstrated particularly by keyboard players. Some articulate the notes with great consideration while others interpret the movement as if it is a vocal work with an approach suggesting a declamatory delivery. The long trills are a challenge but can be omitted on the piano which has a sustaining quality unlike the harpsichord for which the work was primarily intended and the main domestic keyboard instrument of Bach’s own time. When introduced they need to be played rhythmically and with an intention suggesting the keyboard player is in control. The PlentyMusic principle when it comes to adding ornaments to music scores is to follow and more or less and imitate current modern performance practice. Ornaments are applied consistently although there is scope for players to make some additions particularly at important cadence points in movements where the option of more notes in the trill can be explored. In the sheet music video score, which keyboard 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. The realisation plays back at 72 quarter note or crotchet beats to the minute. Players will perhaps need to edit their scores with reminders about accidentals within the bar. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. 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 keyboard technique. A plain score is attached to the edited music score available as a pdf download from the PlentyMusic website. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms to get a sense of how important an aspect of piano playing this is. Close

Invention 6 BWV 777

Invention 6 BWV 777 in the key of E is a movement that features figuration and an exploration of shapes rather than ornamentation. The two voices are Show More...

Invention 6 BWV 777 in the key of E is a movement that features figuration and an exploration of shapes rather than ornamentation. The two voices are frequently moving in contrary motion. Legato playing is suggested for this invention and the realisation plays back at 32 dotted quarter note or dotted crotchet beats to the minute. The repeats whilst indicated in the sheet music score are not played in the mp3 realisation. This invention sounds so easy on the ear but it is a nightmare to read because of the accidentals. The reading of the notes and accidentals requires attention especially in the second section and note values need to played accurately. There are opportunities to explore changing fingers on a note technique and some of the leaps need to be managed when preparing a performance of this score. Remember that all good piano playing is about good preparation. Sliding a finger from a black to a white note is another technique that is appropriate when playing this invention. The familiar compositional processes of imitation, inversion, sequence feature strongly in the movement. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. What is fascinating is to hear some of the greatest pianists and harpsichordists playing what are considered to be learning pieces. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. 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 keyboard technique. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is. A plain sheet music score is attached to the edited music score in the pdf download. Close

Invention 1 | BWV 772 | piano

J.S.Bach’s Invention No. 1 BWV 772 is an intermediate level movement can be played on a range of keyboard instruments and by a number of instrument Show More...

J.S.Bach’s Invention No. 1 BWV 772 is an intermediate level movement can be played on a range of keyboard instruments and by a number of instrument combinations. In the video score, which keyboard players may wish to refer to on the PlentyMusic YouTube channel the ornaments have been written out in full. to clarify how they should be played. 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 keyboard technique. The playback tempo of the realisation is 60 beats per minute (bpm) and the music editor suggests omitting the ornaments when learning the piece. A plain score is attached to the edited music score available as a pdf download from the PlentyMusic website. Composed in the key of C the key journey is confined to the closely related keys of the dominant (bar 7), relative minor (bar 15) and sub-dominant (bar 20). Keys, understand, are not always established as such but are described as passing modulations in the baroque era. A key or change of key is generally thought of being established when there is a cadence which tends to be more the case in music from the classical era. Tempo is one of the most challenging questions when playing the Bach’s 15 Two part inventions. The music editor suggests that there is often a tendency to play these movements too quickly. The opening motif or melodic idea is quite short in this work whilst musical ideas are repeated and imitated by the two voices. The inversion of musical ideas is a particularly strong feature in this invention. The use of sequence is another compositional process readily identifiable. Close

Scale of C | Improver Level | Piano & Keyboard

The scale of C major version is presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available bac Show More...

The scale of C major version is presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany the available backing tracks. Improver level scales involve 2 octave playing. The backing tracks are available both on the PlentyMusic website and our YouTube channel. Access them on a mobile phone to improve your music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) Improve music practice and make progress with PlentyMusic pdf sheet music & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together one octave contrary motion Do keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional challenges from PlentyMusic as to how scales can be played. The thumb under third and fourth finger movement together with third and fourth finger over thumb are movements in playing the scale that merit particularly attention and will be addressed in a PlentyMusic video later in the year. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other challenges coming soon as your playing progresses and improves. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Why practice scales? Scale practice does help in improving technique and spatial awareness of the keyboard layout. Security in playing scales means that the fingers become familiar to being in the right place and the right time. Playing scales is good preparation for playing more difficult pieces Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view. If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique. Playing scales encourages the development of a secure and controlled technique in playing. Playing scales particularly when playing in contrary motion encourages independence of the hands. Playing scales is helpful in managing stretches and stresses in keyboard playing. Close

Arpeggio G | Beginner Level | Keyboard & Piano

The G major arpeggio presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany a backingtrack. Beginner leve Show More...

The G major arpeggio presented as a practice drill or warm up where keyboard & piano players can play-a-long & accompany a backingtrack. Beginner level arpeggios involve single octave playing & letter names of notes appear in noteheads. The backing tracks are available both on the PlentyMusic website and the PlentyMusicCo YouTube channel. Access them on a mobile phone, tablet or desktop to improve your music practice routines. The accompaniment tracks have a range of tempo from 48 to 144 beats per minute (bpm) Be aware that there is a four in a bar feel to playing of these piano exercises. A good starting point is 60bpm. Improve music practice and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads. Playing arpeggios is simply a way of playing chords. Chords are usually played as part of a chord progression. For this exercise suggested fingering is in place beneath the notes. Each arpeggio is to be played twice with a 3 beat gap between each playing. This is indicated by the sound of a woodblock. The key signature for G is used in the sheet music score. Do make sure that breathing is relaxed before, during and after playing the exercises. Arpeggios feature in much keyboard music from classical times through to the popular music of the 20th and 21st centuries. All music performers need to have a knowledge of chords/arpeggios, their structures and their compositional contexts. The chords in this exercise are presented in root position, (GBD) first (BDG) and second inversion (DGB) formats. A wood block sound provides the introductory beats for the ensemble playing of each arpeggio.exercise. The playing sequence for arpeggios is as follows: Right hand one octave X 2 Left hand one octave X 2 Right and left hands together one octave in similar motion X 2 Root position chord arpeggios are followed by first inversions and then second inversions. Do keep to the specified fingering although a possible option for the root position left hand arpeggio has been given. Remember that in a sitting position the level of the keyboard should be 72.5cms above floor level. At the beginner level the arpeggios should be played evenly & smoothly (legato). Understand that there will be additional challenges from PlentyMusic as to how arpeggios and chords can be played particularly in the context of playing chord sequences. How to manage stretching the hand is an aspect of arpeggio playing that needs to be considered. There are techniques for this which will be demonstrated in a PlentyMusic video later in the year. Please feedback to PlentyMusic on any additional warmups or practice drills required or changes that need to be made to those currently in place. Look out for the PlentyMusic videos later in the year with some practical tips on the playing the piano & keyboard. Always make music practice both challenging and interesting. When playing arpeggios aim to keep a lightness in the hands particularly when they are played at fast tempi. The arpeggios played at 132bpm and 144bpm are really in place as extension tasks and really are not in the boundaries of the beginner player but you never know?. Always remember that if you cannot play something at a slow tempo then you are unlikely to be able to play it at a fast tempo. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do always be aware of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing arpeggios a legato touch should remain the focus. There are other challenges coming soon as players make progress and improve. When playing arpeggios and chords as in most other music performance contexts fingers need to remain close to the keys. The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. If you print the sheet music score available from the website and you are able to read music printing 2 pages onto one sheet of A4 is suggested. Why practice arpeggios Playing arpeggios helps players to understand chords in all their forms and variants. Chords can at times be perceived as being overwhelmingly complex and challenging to get your musical head around but rest assured when explained and understood particularly in a playing context they do make sense. A knowledge of chords is essential in music from the performance, arranging and compositional point of view. It is very reassuring that the more that one learns about chords the simpler they become. There are four types of chord (major, minor, diminished and augmented) and matters become even challenging when additional notes are added. For the moment focus on the set tasks. Arpeggio practice does help in improving keyboard technique. Security in playing arpeggios assists/ means that the fingers get used to being in the right place at the right time. Playing arpeggios in all their formats will help in preparing keyboard players for more difficult pieces If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height does not suggest or encourage good technique. Playing arpeggios encourages the development of a secure and controlled technique in playing. Playing arpeggios is particularly helpful in managing stretches in keyboard playing. Close

Scale of C | Beginner Level | Piano & Keyboard

The scale of C is presented as a #practicedrill or warm up where keyboard players & #piano players can #play-a-long & accompany the #backingtracks. Show More...

The scale of C is presented as a #practicedrill or warm up where keyboard players & #piano players can #play-a-long & accompany the #backingtracks. The backing tracks are available both on the PlentyMusic website and YouTube. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) Improve music practice with PlentyMusic pdf #sheetmusic & accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand one octave Left hand one octave Right and left hands together one octave similar motion Right and left hands together one octave contrary motion Do keep to the specified fingering At the beginner level the scales should be played evenly & smoothly (legato) Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice interesting and challenging When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. When playing scales & in most other practical musical performance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be at the finger tips. Aways imagine when playing a keyboard instrument the the weight of the arm, hand & fingers are released as such through the finger tips Why do we practice scales? Scale practice does help in improving technique and developing an awareness of the range of an instrument Security in playing scales means that the correct finger is in the right place Playing scales is good preparation for playing more difficult pieces Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view. The level of the keyboard should be 72.5cms above floor level If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards Playing scales does encourage the development of secure technique Playing scales does encourage the development of a controlled technique control in ones playing Playing scales is helpful in managing stretches and stresses in keyboard playing Close

Scale of A minor | Improver Level | Piano & Keyboard

The scale of A minor in its harmonic version is presented as a #practicedrill or warm up where keyboard & #piano players can #play-a-long & accompany Show More...

The scale of A minor in its harmonic version is presented as a #practicedrill or warm up where keyboard & #piano players can #play-a-long & accompany the available #backingtrack. Improver level scales involve 2 octave playing. The backing tracks are available both on the PlentyMusic website and our YouTube channel. Access them on a mobile phone to improve your music practice routines. The accompaniment tracks have a range of tempo from 60 to 144 beats per minute (bpm) Improve music practice and make progress with PlentyMusic pdf #sheetmusic & mp3 accompaniment downloads. Each scale is to be played 3 times with a one bar gap between each scale. A wood block sound provides a one bar preparation for the playing of each scale exercise. The playing sequence is as follows: Right hand two octaves Left hand two octaves Right and left hands together two octaves similar motion Right and left hands together one octave contrary motion Do keep to the specified fingering In a sitting position the level of the keyboard should be 72.5cms above floor level At the improver level the scales should be played evenly & smoothly (legato). Playing scales does involve repetition but they need to be played with engagement and concentration. There are always aspects of ones playing that can be improved. Understand that there will be additional challenges from PlentyMusic as to how scales can be played.. Thumb under & third finger over preparation is an aspect of keyboard technique that needs to taken on board and will be clarified in a video post later in the year. Please feedback to PlentyMusic on any additional warm ups or practice drills required or changes that need to be made to those currently in place. Look out for the PlentyMusic videos later in the year with some practical tips on the playing of scales and the piano/ keyboard in general. Always make music practice a challenge as well as being interesting. When playing scales aim to keep a lightness in the hands particularly when they are played at fast tempi. Use a mobile phone, tablet or desktop to provide the backing tracks needed to enjoy scale practice as an ensemble activity. When playing along to the backing tracks do have an awareness of the beat, pulse and tempo. Whilst there are many ways in which musical notes can be articulated in the early stages of playing scales a legato touch should be and remain the focus. There are other challenges coming soon as your playing progresses and improves. When playing scales as in most other #musicperformance contexts fingers need to be close to the keys The weight of the arm & hand should be imagined to be being released or even flow out through the finger tips. The challenge in playing music is that it involves much repetition. The gifted musician is one able to internalise what has been learnt and progress quickly to more difficult challenges. Why practice scales? Scale practice does help in improving technique and spatial awareness of the keyboard layout. Security in playing scales means that the fingers get used to being in the right place. Playing scales is good preparation for playing more difficult pieces Scales played on a piano or keyboard require that the fingers are all equal in strength and in this respect they are useful although there are other exercises helpful particularly thirds that are helpful it equalising finger strength from the keyboard playing point of view. If you play a keyboard standing up ensure that you at a comfortable level with the weight of the hands going downwards. Images of keyboard players playing with their hands above shoulder height is not great for encouraging good technique. Playing scales encourages the development of a secure and controlled technique in playing. Playing scales particularly when playing in contrary motion encourages independence of the hands. Playing scales is helpful in managing stretches and stresses in keyboard playing. pdf sheet music scores and mp3 accompaniments can be downloaded from the PlentyMusic website. Improve music practice routines using PlentyMusic accompaniments and music scores. Beginner, improver, intermediate and advanced level sheet music scores are available for many different musical instrument combinations. Music scores are written and presented in staff notation. Free scores are also available. Different performing styles are also represented on the PlentyMusic website from the very earliest to classical and more recent popular times. Close

Invitación (Invitation) piano solo (original)

Invitación by Ignacio Cervantes is a short appealing work. An intermediate level piano solo this is in the original key of Em and features the Cuban Show More...

Invitación by Ignacio Cervantes is a short appealing work. An intermediate level piano solo this is in the original key of Em and features the Cuban habanera pattern is an excellent piece for developing both solo and ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills especially if some ensemble playing is envisaged. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Most of Cervantes movements are very short and benefit from being played through twice although the music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 72 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly with regard to tempo and the use of rubato (speeding up and slowing down) and does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close

Warum willst du And’re fragen arr. piano

Clara Schumann’s “Warum willst du And’re fragen” (Why do you question others?) in an arrangement for solo piano Dating from 1841 this is a ref Show More...

Clara Schumann’s “Warum willst du And’re fragen” (Why do you question others?) in an arrangement for solo piano Dating from 1841 this is a reflective and contemplative romantic instrumental arrangement #sheet music & accompaniment links: This arrangement was quite easy to create because the piano part essentially doubles the melody. There should always be a focus on communicating beauty of sound and tone when playing Clara Schumann’s and music by her contemporaries. The voicing particularly in the piano accompaniment is always very considered with the harmonic writing demonstrating chromatic elements typically found in music of its composition date. Players who want to understand or even confirm phrasing options should simply sing the melody and identify places in the score where it is necessary to breathe. There are subtle tempo changes needed as the movement progresses with slowing downs required at the ends of phrases. Returning to a tempo particularly at the start of phrases is an important aspect of performing this music successfully. Use of the sustaining pedal is recommended but only indicated in the opening bars. The music editor suggests only light use so that the harmonic lines are not blurred or become muddy. There is quite obviously a strong connection and similarities between the composition approach of Robert and Clara Schumann's music. Clara in fact edited much of her husband's music for publishers in the 19th century and was an immense musical talent in her own right. The melody is quite reminiscent of the opening song from Robert Schumann's Dichterliebe song cycle. This is one of the songs that Clara Schumann contributed to Robert Schumann’s 12 Gedichte Aus Liebesfruling Opus 37 Close

Valse Sentimentale arr. piano

An intermediate level piano solo arrangement of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this cut version an alternative ending is provide Show More...

An intermediate level piano solo arrangement of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this cut version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Players can see the intended cadenza on the ossia staff and can develop their own closing section which may combine a combination of rhythmic patterns and melodic shapes. Formally this short version of the movement can be described to be internary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds. As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 46 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments probably better than anybody else. Close

Serenade arr. organ

Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for organ with pedals in the key of C whilst the Ple Show More...

Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for organ with pedals in the key of C whilst the PlentyMusic sheet music realisation plays back at 94 quarter note (crotchet) beats to the minute. Improve music practice strategies by downloading this sheet music score 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 with an accompaniment that needs to imitate the pizzicato sound of the strings. There is opportunity for organists to introduce more variety in the registrations than is demonstrated in the realisation. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested. The repeats which are not marked in the video score do not play in the realisation. An ideal performance piece and also appropriate for weddings 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 all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) which 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 in respect 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

Lullaby (Weigenlied) Opus 49 No.4 arr. piano | intermediate level

Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for piano the sounding key is Eb with th Show More...

Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for piano the sounding key is Eb with the PlentyMusic realisation of the sheet music score playing back at 76 quarter note (crotchet) beats to the minute. Pianists can view and hear the video sheet music score on our YouTube channel. One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment. The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time. Use of the sustaining pedal is recommended although its use has not been indicated in the sheet music score. There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute. This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly. This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Formally the pattern of the music can be described as binary represented as AB. The ornaments have been incorporated into the sheet music in the notation to add clarity of intention. Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this time in music history. Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music. Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances. For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience. Re-invention is an important aspect of music making and PlentyMusic are keen and willing to both listen and publish work in this category. Close

Lullaby (Weigenlied) Opus 49 No.4 arr. organ with pedals | intermediate level | Eb

Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for organ with pedals the sounding key i Show More...

Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for organ with pedals the sounding key is Eb with the PlentyMusic realisation of the sheet music score playing back at 76 quarter note (crotchet) beats to the minute. Organists can view and hear the video sheet music score on our YouTube channel. One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment. It is ideal piece of music for the Christmas season or Mothering Sunday. Brahms composed organ music and his Opus 122 chorale preludes are also worth exploring. The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time. There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute. This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly. This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Formally the pattern of the music can be described as binary represented as ABAB The ornaments have been incorporated into the sheet music in the notation to add clarity of intention. Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this time in music history. Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music. Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances. For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience. Re-invention is an important aspect of music making and PlentyMusic are keen and willing to both listen and publish work in this category. Close

Laudate Dominum arr. organ with pedals | intermediate level

An instrumental arrangement for intermediate level organ of Mozart’s Laudate Dominum from the Veperae solemnise de Confessore K.339 which dates from Show More...

An instrumental arrangement for intermediate level organ of Mozart’s Laudate Dominum from the Veperae solemnise de Confessore K.339 which dates from 1780. The arranger’s intention has been to prepare a performance piece containing the melody, the arpeggiated chordal accompaniment and bass line. This is classical music in its truest sense. The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute . The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece where reflection is appropriate. As there is a reduction in the musical texture as some of the musical content has been omitted. As a movement lasting about 4 minutes at the suggested tempo players need to be aiming to be playing consistently. A playing approach where two beats in the bar is communicated rather than two groups of three is suggested. Vocal performances do tend to be performed at a slower tempo than those played by instruments. Vocal models have been used for an interpretation of the ornaments in the realisation. They can of course be interpreted differently although consistency does need to prevail in a performance. The ornaments have been written out in full in the video sheet music score which can be referenced on our YouTube channel if there is a need for clarification. The piano and organ versions of the arrangement have slightly different bass lines simply reflecting the practicalities of the instrument. The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work. This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close

Laudate Dominum arr. piano solo | intermediate level

An instrumental arrangement for intermediate level piano of Mozart’s Laudate Dominum dating from 1780. The arranger’s intention has been to prepar Show More...

An instrumental arrangement for intermediate level piano of Mozart’s Laudate Dominum dating from 1780. The arranger’s intention has been to prepare a performance piece containing the melody, the arpeggiated chordal accompaniment and bass line. This is classical music in its truest sense. The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute . The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece for reflection. Laudate Dominum is a movement from the Veperae solemnise de Confessore K.339 As there is a reduction in the musical texture some of the musical content has been omitted. The intention of the music editor has been to prepare an arrangement which contains the melody, the arpeggiated chordal accompaniment and bass line. There is the option of exploring the texture more fully with the addition of octaves in the section from bar The realisation plays back at 36 dotted quarter note or crotchet beats to the minute. A playing approach where two beats in the bar is communicated rather than two groups of three is suggested. Vocal performances do tend to be performed at a slower tempo than those that are instrumental. In the piano version the original contexts are indicated in the score which should be a helpful assist in interpreting and understanding the music. Vocal models have been used for an interpretation of the ornaments in the realisation. The trills can of course be interpreted differently although consistency does need to prevail in a performance. The ornaments have been written out in full in the video sheet music score which can be referenced on our YouTube channel if there is a need for clarification. The piano and organ versions of the arrangement have slightly different bass lines each reflecting the practicality of the instrument. The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work. This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close

Waltz No.15 Opus 39 arr. piano solo | intermediate level

Johannes Brahms Waltz Opus 39 No. 15 arranged for solo piano The realisation plays back at 108 quarter note crotchet beats to the minute. The susta Show More...

Johannes Brahms Waltz Opus 39 No. 15 arranged for solo piano The realisation plays back at 108 quarter note crotchet beats to the minute. The sustaining pedal is used throughout the movement and has been indicated in the score for the first two lines of the sheet music. Pedalling principles can be quite confusing but the music editor offers the following advice: i) the sustaining pedal can be used sparingly with a ¼ pedal or incrementally as a ½, ¾ or full pedal ii) The pedal normally changes when the harmony or chord changes iii) the pedal is depressed essentially just after first sound that needs to be captured with a pedal sound iv) the pedal is released as the notes are depressed for the change in harmony then depressed again (In this movement release the pedal on the first beat of the bar and depress it again before sounding the second beat) The pdf music score available from PlentyMusic has the pedalling clearly indicated for the first two lines of music. The intention must be to avoid muddiness in the sound. v) too much pedalling or over pedalling causes too harmonic confusion (muddiness) in the sound vi) the music editor suggests a change of pedal on the first and third beat of the bar This is an excellent performance piece but does need to be well prepared as a popular piece a pianist cannot afford to make even the tiniest of mistakes. This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period is also a valuable practical consideration. Pianists should be aiming for a legato touch certainly in their melody playing. Whilst there are staccato markings in the left hand part this is hidden by the use of the sustain pedal. There is an indication in the score for many of the chords to be arpeggiated imitating the sound of the harp. Not all the chords are played in this way although some pianists adopt the technique for all chords in the movement. The speed of the arpeggio is something that the software used is not able to control and the arpeggios in the realisation are possibly a little on the slow side. The last eight bars particularly need to be played with a light touch and probably warrants some separate practice. The notes to be sounded in the right hand on the first beat of bars 41 and 42 are Ab5 & F6. The other notes are tied oved from the previous bar. Formally the pattern of the music can be described as AABABA . The ornaments have been incorporated into the sheet music in the notation to add clarity of intention. The waltz emerged as a popular dance form in secular music during the 19th century and was used in both vocal and instrumental music. The music editor suggests that playing this movement is excellent preparation for playing music by Scott Joplin and other composers of the ragtime era. Being able to play the left hand chord progressions particularly with the left hand is a challenge but has great relevance and context in the playing of modern piano music. Chopin’s piano music similarly offers great preparation. Analysis of the movement from the harmonic point of view reveals that the tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale of Ab all feature in either root position or an inversion. Analysis will help clarify how composers were so reliant on the cycle of fifths at this particular time in music history. It remains the essence of why the music and musical journey of movements were so attractive and appealing to the musical ear. Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This miniature requires a relatively basic keyboard technique and is an excellent introduction to playing his music on a piano. The music editor also suggests that it excellent preparation for playing the popular music from a later generation namely ragtime. Joplin was well prepared as a composer by playing the music of Chopin. Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances. There is a piano duet version of the waltz also available. Close

Waltz No.15 Opus 39 arr. piano duet | intermediate level

Johannes Brahms Waltz Opus 39 No. 15 arranged for piano duet. The primo part player contributes with the melodic element whilst the secondo player pla Show More...

Johannes Brahms Waltz Opus 39 No. 15 arranged for piano duet. The primo part player contributes with the melodic element whilst the secondo player plays the bass and chords. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo parts. The primo part sounds on one side of the stereo channel and the secondo part sounds on the other. Accompaniments are available playing at 96, 100, 104. 108 and 112 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. When performing printing two pages of music onto one side of A4 offers a practical solution for players in respect to managing the music desk. The realisation plays back at 108 quarter note crotchet beats to the minute. This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score. The last eight bars particularly in the primo part need to be played with a light touch. Formally the pattern of the music can be described as ABABA The ornaments have been incorporated into the sheet music in the notation to add clarity of intention. In the video score, which can be viewed on our YouTube Channel the graphics, namely the score detail, behaves rather consistently and some are missing Brahms Waltzes Opus 39 were composed in 1865 a time in music history when piano duets were very popular particularly for use in music rooms in 19th century homes. Along with other more intimate music of the time, such as lied (song) they were often described as being salon music. Schubert, Brahms, Dvorak and others composed music specifically intended to be played as piano duets whilst there were arrangements of symphonies and other music of the day. The waltz emerged as a popular dance form in secular music during the 19th century and was used in both vocal and instrumental music. Analysis particularly of the secondo part reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale of A all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history. The piano available to Brahms in the late 1860’s would have had a much thinner sound compared with a modern instrument. As the tonal qualities would not have as been as strong as a modern piano players may need to consider softening and quietening their approach to playing the bass octaves. Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This miniature requires a relatively basic keyboard technique and is an excellent introduction to playing his music on a keyboard. Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances. There are many piano duets to explore on the PlentyMusic website and more will be added in the future. There is a solo piano version of the waltz also available. Close

Cradle Song (Lullaby) arr. piano or keyboard | beginner level

This beginner level arrangement is available from PlentyMusic as a free sheet music score. It is intended to be used in group music teaching contexts. Show More...

This beginner level arrangement is available from PlentyMusic as a free sheet music score. It is intended to be used in group music teaching contexts. The beginner arrangement has the melody played by the right hand accompanied by chords intended to be played by the left hand. There are graphics indicating the notes to be played in the chords and the melody notes have the letter names in the notehead. The realisation plays back at 84 quarter note (crotchet) beats to the minute. Play-a-long accompaniments to encourage ensemble and solo playing are available emphasising either the melody or the chords. They are recorded at tempos of 84, 88 and 92 beats per minute and each is introduced with a click beat. If additional accompaniments are required please advise the PlentyMusic office. The sheet music download has suggested fingering and dynamics in place although the latter may only be relevant on touch sensitive instruments. Keyboard players should be aiming for a legato touch in their playing. In this beginner version ornamentation has been omitted but they are in place in the improver level sheet music score. One of the most famous and loved melodies of what is often described as the classical music repertoire although Brahms should more accurately identified as a romantic composer. The Cradle Song or Lullaby was composed by J. Brahms as the song “Weigenlied” and published in 1868. There are many beginner level piano & keyboard pieces available as free sheet pdf downloads from the PlentyMusic website Close

Cradle Song (Lullaby) arr. piano or keyboard | improver level

This improver level arrangement is available from PlentyMusic as a free sheet music score. This improver level two part piano or keyboard arrangement Show More...

This improver level arrangement is available from PlentyMusic as a free sheet music score. This improver level two part piano or keyboard arrangement available as a pdf sheet music download has suggested fingering and dynamics in place. Players should be aiming for a legato touch in their playing. One of the most famous and loved melodies of what is often described as the classical music repertoire although Brahms should more accurately identified as a romantic composer. The Cradle Song or Lullaby was composed by J. Brahms as the song “Weigenlied” and published in 1868. There are many improver level piano & keyboard pieces available as free sheet pdf downloads from the PlentyMusic website. the music scores can be explored either on the website or our YouTube channel. The realisation plays back at 84 quarter note crotchet beats to the minute. Close

Tambourin arr. piano

F.J. Gossec’s Tambourin arranged for solo piano. Improve music practice routines by downloading sheet music from PlentyMusic. A short but very appe Show More...

F.J. Gossec’s Tambourin arranged for solo piano. Improve music practice routines by downloading sheet music from PlentyMusic. A short but very appealing movement ideal as an encore for the competent soloist warmed up and prepared to engage with the challenges of presenting a performance piece. The choice of tempo, managing the figuration in the section from bars 51-57 and how the melody is articulated especially from bars 80–89 identify are just some of the performance challenges to be considered. The dance element is particularly strong in French music and this dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 118 quarter note crotchet beats to the minute. The music editor has not indicated the tempo in the music score using an appropriate Italian term but players need to play the movement at as brisk a tempo as possible. There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals. There are some rhythmic options that can be explored in the section 51- 57. The music editor suggests playing the 7 bars first as eighth note or quavers and then introducing rhythmic options of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semi quavers and demisemiquavers!) Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch. Gossec was a French composer and pupil of Rameau although little known outside France He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris. Close

Julia Florida arr. piano solo

Julia Florida by Agustín Barrios is an intermediate level piano transcription of a popular guitar work by the Paraguyan composer. Barrios was also a Show More...

Julia Florida by Agustín Barrios is an intermediate level piano transcription of a popular guitar work by the Paraguyan composer. Barrios was also a gifted poet and artist born in a country with a strong folk harp playing tradition. His music, relatively unknown outside guitar circles, includes 100 original movements and some 200 arrangements of music by other composers. He also recorded and established a teaching tradition and legacy for the playing of the instrument. His music can be identified with the late romantic tradition and is influenced by the folk music of South America , religious and European art music traditions especially the baroque. The re-discovery of his music in the 1970’s is particularly due to the playing his music by the classical guitarist. John Williams This transcription from guitar to piano very much keeps to the composer’s original intention. Some use of the sustaining pedal is suggested as is tempo rubato. The piano arrangement generally keeps to the voicing and intention of the guitar with the occasional addition of octaves where they are considered appropriate. There are some variants as to how the movement closes. The movement is composed in the style of a barcarola or barcarolle which originates as a Venetian gondolier's song and features a 6/8 time signature combined with gently rocking rhythmic shapes. Close

Let me cry (Lascia ch’io pianga) arr. piano & organ

Handel’s Let me cry (Lascia ch’io pianga ) from the opera Rinaldo in an intermediate level arrangement for organ and piano. The aria or song is ta Show More...

Handel’s Let me cry (Lascia ch’io pianga ) from the opera Rinaldo in an intermediate level arrangement for organ and piano. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. Those who enjoy improvising can always record their work can send it as an mp3 to the PlentyMusic office for feedback. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score. This is music that is very appropriate music for a solemn processional in a social context context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor makes the observation that instrumental arrangements of a vocal piece are invariably played at a faster tempo. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close

Greensleeves arr. improver keyboard/piano

An improver level arrangement of this familiar melody with the left hand playing broken chords Right and left hand fingering are in place. The aim in Show More...

An improver level arrangement of this familiar melody with the left hand playing broken chords Right and left hand fingering are in place. The aim in playing the piece is simply to get both hands playing together independently. Right hand fingering is in place whilst the realisation plays back at 60 dotted quarter note (crotchet) beats to the minute. Don’t be afraid to also practice away from an instrument learning and memorising the patterns of the music and developing the coordinating of the movements between the fingers and hands. This is music that can be played on either a keyboard or piano. Players should be aiming to play the melody legato (smoothly). Close

Greensleeves arr. beginner keyboard/piano

A beginner level arrangement of this familiar traditional melody which is an excellent piece for the keyboard player to study. In this version the mel Show More...

A beginner level arrangement of this familiar traditional melody which is an excellent piece for the keyboard player to study. In this version the melody is played by the right hand and the chords by the left hand. The aim in playing the piece is simply to get both hands playing together. Letter names are indicated in the noteheads, right hand fingering is in place and there are graphics to indicate how the chords should be played. The realisation plays back at 60 dotted quarter note (crotchet) beats to the minute. Don’t be afraid to practice away from an instrument learning and memorising the patterns of the music and developing the coordinating of the movements between the fingers and hands. This is music that can be played on either a keyboard or piano. Players should be aiming to play the melody legato (smoothly). Close

Pieds-en-l’air arranged piano solo

The spirit of the English pastoral tradition is captured perfectly in this movement from Warlock’s Capriol Suite. There are also some beautiful moda Show More...

The spirit of the English pastoral tradition is captured perfectly in this movement from Warlock’s Capriol Suite. There are also some beautiful modal conflicts reflecting the composer’s interest in the music Elizabethan music and particularly that of John Dowland. There are some compromises in the voicing of the lines particularly in the closing section whilst bar 13 requires some careful note reading in the left hand. This is an excellent piece for developing legato playing. It is also a good test piece because a successful performance requires an awareness of the modal conflict that exists in the lines of the music evident in the conflicting accidentals that feature in the score. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. (44 dotted quarter note (crotchet) beats to the minute. The voice leading at times quite a challenge to follow and for players really interested in understanding the musical elements should refer to the score for string orchestra. 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 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

Slovakian Boys’ Dance

Slovakian Boys’ Dance is the third piece in the collection Ten Easy Pieces dating from 1908 by Béla Bartók. It is an improver level piano piece an Show More...

Slovakian Boys’ Dance is the third piece in the collection Ten Easy Pieces dating from 1908 by Béla Bartók. It is an improver level piano piece and a rhythmic movement with a strong repetitive element. Based on a folk tune it is quite a short piece lasting about 45 seconds. The realisation plays back at 132 quarter note beats to the minute. The score is quite detailed and like much of Bartok’s music pianistic and easier to play than it sounds. This type of movement is excellent for developing a secure piano technique. The composer was interested in folk music and composing music for educational purposes. The Ten Easy Pieces feature pentatonic scales, references to modes, off beat rhythms and ostinati. Close

Andante tranquillo | Second Movement from Organ Sonata Opus 65 No. 3

An intermediate level movement from a Mendelssohn organ sonata. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially Show More...

An intermediate level movement from a Mendelssohn organ sonata. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially a chorale or hymn much in keeping with the chorale of J. S. Bach although Mendelssohn’s harmonic language is chromatic rather than diatonic. There is more than a suggestion that the composer was well schooled in the disciplines of counterpoint and harmony. There is opportunity to slow down and pause at the ends of phrases although there is only one such marking in the sheet music score. Playing chorale arrangements like this are excellent for developing ensemble playing and good intonation. A generally quiet movement, clarinet players should be aiming for a legato in their playing. The video score/ realisation plays back at 76 quarter note beats to the minute. Mendelssohn was an extremely popular composer in England. Described as a romantic composer he leans more to the classical line of the tradition along with composers Schubert (1797 – 1828) Chopin (1810 – 1849) and Brahms (1833- 1897) rather than the more radical represented by Berlioz (1803 – 1869), Liszt (1811 – 1886), and Wagner (1813-1883). Schumann (1810 - 1856) is the composer who interestingly links the two threads. Close

Cantilena from Organ Sonata No. 11 in D minor Opus 148

J. Rheinberger’s #Cantilene from his Organ Sonata No.11 for organ is a late 19th work which can be understood to be updated version of a Bach choral Show More...

J. Rheinberger’s #Cantilene from his Organ Sonata No.11 for organ is a late 19th work which can be understood to be updated version of a Bach chorale harmonisation with the influence of Brahms in respect to the chromatic harmony. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is actually very untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Organists should play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts. Cantilena is an Italian/Latin word suggesting both lullaby and song. A movement that is intended to be played quietly in a sustained approach.The melody needs to be played with a legato whilst the bass line is played with a detached or staccato touch. The melody explores several rhythmic motifs often featuring tied notes. Much of the writing features off-beat rhythms related to the resolving of the dissonances in the inner parts.The influence of the Bach 4 part chorale harmonisation is paramount together with the chromatic harmony that can be readily identified in the music of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniments. Close

Canción

The Spanish composer Manuel de Falla composed his Canción in 1900. An intermediate level piano solo - it is a jewel of the 20th century Spanish piano Show More...

The Spanish composer Manuel de Falla composed his Canción in 1900. An intermediate level piano solo - it is a jewel of the 20th century Spanish piano repertoire. Canción is composition for piano in triple time dating from 1900. The opening bars are quite reminiscent of Satie’s music. In a very short space of time the composer takes the player on a simply amazing harmonic and musical journey. Manuel de Falla is widely considered to be the greatest 20th century Spanish composer. The piece is an exploration of a melody in different modalities, textures and styles. The use of the sustaining pedal is indicated in the opening bars of the sheet music score and then the pattern is continued. Pianists should be aiming for a legato touch and there are some subtle changes of tempo to manage particularly at the end of phrases. The Animando e cresc section should be started at the beginning of bar 21. Close

Gnoissienne No. 1 piano solo

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

Siciliana from String Trio in E Flat Opus 17 No.1 arr. organ

An intermediate level arrangement from PlentyMusic for organ of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini. Show More...

An intermediate level arrangement from PlentyMusic for organ of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini. This is a 4 part arrangement or music originally conceived for 3 voices. Giardini’s string trio’s are beautifully crafted works and need to be re-discovered and played. The tempo marking in the sheet music score is Adagio whilst the video score plays back at 44 dotted quarter (crotchet) notes to the minute. Trills begin on the note and have been notated in full in the video score. This area of performance practice is one that encourages debate and if instrumentalists have an alternative please do send the PlentyMusic Office an mp3 recording of a performance or rehearsal or even a notated version. The siciliana, siciliano or sicilienne is a slow dance with a lilting rhythm in three time which can be described as a slow jig and features quite strongly in baroque music and in many works since. Such music is often in the minor key, pastoral in character with dotted rhythms frequently prevailing. Its origins are possibly Sicilian because of its association with the Sicilian born Alessandro Scarlatti but more likely to the madrigals of the Italian renaissance. Giardini’s music is familiar to those who sing hymns as the tune Moscow was composed by him. Giardini 1716 – 1796 Italian by birth, was a violinist and composer, who toured widely in Europe settling in England and becoming an orchestra leader of the Italian Opera in London and director of the orchestra at the London Pantheon. He worked closely with his friend and colleague J. C. Bach, familiarly referred to as the the London Bach. For a 15 year period from the mid 1750’s Giardini was considered to be one of the very best performing artists of his time. As a composer his chamber music, particularly his string trios, are best known and his compositional style combines style galant with the classicism of J. C. Bach and the Mannheim school associated with Stamitz. This so called pre-classical period in music is a fascinating period to study because of the great diversity in music across the main cities of Europe. After leaving England in 1784 for Naples his career faltered due mainly to changes in secure financial circumstances. Close

Spanish Dance No.5 (Andaluza) solo piano

Spanish Dance No. 5 by E. Granados from PlentyMusic for solo piano. This popular and appealing intermediate level movement dates from 1890 and its use Show More...

Spanish Dance No. 5 by E. Granados from PlentyMusic for solo piano. This popular and appealing intermediate level movement dates from 1890 and its use of the phyrgian 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. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. 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 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 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. Pianists should explore the ensemble arrangements of this work available on the PlentyMusic website. 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

Ave Maria arr. organ

In this arrangement for organ from PlentyMusic Gounod’s melody is played on the pedals whilst the hands play Bach’s Prelude in C with the addition Show More...

In this arrangement for organ from PlentyMusic Gounod’s melody is played on the pedals whilst the hands play Bach’s Prelude in C with the additional bar (29) and a repeat of the first 4 bars. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. The challenge for the organist is to play the melody in a singing or legato style suggesting a secure pedal technique. The realisation plays back at 68 quarter note (crotchet) beats to the minute. The music editor also suggests that it might be appropriate to play the double dotted notes on the pedals in bars 10 and 12 as dotted notes particularly on slow tracker action instruments. For the pianist playing the organ this is probably the most suitable arrangement to learn and play. the accompaniment needs to be played in an even and as rhythmically controlled way as possible. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick up or anacrusis notes in the section from bar 23 to bar 28. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being suitable as concert music. As this movement is so familiar to the listening audience performers cannot afford to even go near a mistake rather than actually make one! Close

Ave Maria arr. organ

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This arrangement from PlentyMusic for organ is part Show More...

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This arrangement from PlentyMusic for organ is part of the “Encouraging pianists to become occasional organists” collection. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. The pedal notes which are intended to be added when the movement can be played on the manuals and are indicated (apart from the final Bb) in the bass clef with their stems pointing downwards. Whilst the melody and accompaniment does sound very on the ear and suggest that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. Once a section is played through once logic suggests that it will be easier to play when repeated although this does not always seem to be the case. Young musicians in particular need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments have been written out in the video score but are indicated with symbols in the sheet music scores available as pdf download from PlentyMusic. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of the short essentially ornamental notes can be added later. When a movement involves reducing the score, as is the case in this arrangement, it means that some aspects of the music score are omitted. It is worth studying the full vocal score which may clarify some of the challenges that need to be addressed by the arranger The approach for the keyboard player should be to keep the melody wherever possible and when appropriate rhythmically independent of the triplet figuration of the accompaniment. Close

Ave Maria arr. intermediate level piano

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level piano arrangement from Plen Show More...

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level piano arrangement from PlentyMusic is available as a pdf download. The song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Many performances that are sung make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggest that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's AveMaria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is best to learn the movement with an awareness of an eighth note or quaver pulse triplet figuration geatured in the accompaniment. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the sheet music score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. Logic suggests that playing a repeat should be easier to although this not always seem to be the case. Young musicians in particular need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments have been written out in the video score but are indicated with symbols in the sheet music scores available as pdf download from PlentyMusic. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of the short essentially ornamental notes can be added later. Pianists who want to explore and be challenged furthermore can look at Liszt’s arrangement of Schubert’s work. When a movement involves reducing the score, as is the case in this arrangement, it means that some aspects of the music score are omitted. It is worth studying the full vocal score which may clarify some of the challenges that need to be addressed by the arranger The approach for the keyboard player should be to keep the melody wherever possible and when appropriate rhythmically independent of the triplet figuration of the accompaniment. Close

Los Tres Golpes (The Three Knocks) arr. piano (E minor original key)

Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. This arrangement/transcription for solo piano is in the original key of Show More...

Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. This arrangement/transcription for solo piano is in the original key of E minor. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84bpm. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Close

Los Tres Golpes (The Three Knocks) arr. piano (A minor version)

Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. This arrangement for solo piano is a transposition of the work to the k Show More...

Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. This arrangement for solo piano is a transposition of the work to the key of A minor (up a perfect fourth from the original key of Em). The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music. The playback tempo is 84bpm. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Close

Los Tres Golpes (The Three Knocks) arr. piano (G minor version)

Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. This arrangement for solo piano is a transposition of the work to the k Show More...

Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. This arrangement for solo piano is a transposition of the work to the key of G minor (up a minor third from the original key of Em). The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music. The playback tempo is 84bpm. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Close

Adiós A Cuba (Farewell to Cuba) piano solo in A minor

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for solo piano with the music t Show More...

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for solo piano with the music transposed to the key of A minor. 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. 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. Close

Minuet and Trio in E D.335 | solo piano

The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this plai score version for solo piano is available as a free score Show More...

The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this plai score version for solo piano is available as a free score from PlentyMusic as a pdf download. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. It is an excellent performance piece. The Minuet and Trio are performed without the written repeats sounding in the realisation. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. Both the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. Piano pedalling has not been indicated in the music score although its use is appropriate particularly in the trio section. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. Pianists would be well advised to approach the playing of the two movements with a lightness in their hands. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small notes in bar (acciaccaturas or crushed notes) do not sound in the realisation in bar 41. This an excellent movement for developing the playing of a range of different articulations. Pianists and keyboard players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Phrasing can be very much determined by the choice of fingering with regular 8 bar phrases predominantly feature. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. Both a plain score and an edited music score are available from PlentyMusic. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Close

Bear Dance | piano solo from Ten Easy Pieces Sz.39

Bartok's approach to much of his piano writing is that he considers it as a percussion instrument. Much of his music sounds challenging but often it Show More...

Bartok's approach to much of his piano writing is that he considers it as a percussion instrument. Much of his music sounds challenging but often it is quite playable. The challenge is more on the musical ear and technique rather than the musical content. It is a case of the listener being challenged. The score detail is a strong element in the sheet music copy. Bartok’s music scores do require careful study. The melodic shapes and patterns in this movements are strong and repetitive and the rhythmic element music is particularly strong. He was a great experimenter with sounds and in that he has much in common with Stravinsky. Bartok is one of the best 20th century composers to study because he is excellent at preparing the ear’s of a musician for modern sounds. Bartok’s music does possess great symmetry and his music does identify with the tonal tradition. His music might not sound tonal at times but the functionality in all sense and purpose is tonal. Bartok’s music is often derived from the rhythms and sounds of folk melodies he heard as a child and adult. The music editor suggests that this is an excellent performance piece for aspiring musicians. Close

Second Movement Rondo from Sonatina in E Flat No.6 Opus 20

The music of J. L. Dussek is well worth discovering and playing. His Opus 20 Sonatinas are brimming with invention and musical interest and are perfec Show More...

The music of J. L. Dussek is well worth discovering and playing. His Opus 20 Sonatinas are brimming with invention and musical interest and are perfect for developing a secure technique on a piano. This is music that both expresses and possesses the joy of its time. A rondo is a movement with a recurring theme. The repeats do not playback in the realisation. Music that has design and clear direction that is essentially pianistic. Musical ideas need to be clearly articulated without necessarily being exaggerated. The realisation plays back at a tempo of 72 dotted quarter note (crotchet) beats to the minute. Many of the early published scores of this movement have score detail that possibly is more suitable for the dry acoustic of earlier wooden framed pianos. Pianists may wish to add their own additional score detail particularly in respect to the note articulations but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent or tenuto marking but this aspect of performance is secondary to the requirement for secure fingering as encourages secure technique. Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement suggests that this is more romantic than classical music. Dusssek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score and an edited music score with suggested fingering is available from PlentyMusic for one credit. In the edited music score the suggested fingering is notated above the note for the right hand and below the note for the left hand. Look out for the changing finger on a note which currently cannot be represented as clearly as the music editor intends. Bar 10 and 61 should logically contain the same music but they don’t. Players may well want to consider how they approach these two bars. A possible error in the score but by whom? The copyist, the engraver(s) or even the composer? It’s a much better question than you imagine because music printing of the distant past had so many inconsistencies. The music editor’s view is simply that many composers just did not have time to proof read the printer’s copy. Close

First Movement from Sonatina in E Flat No.6 Opus 20

Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. His Opu Show More...

Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. His Opus 20 Sonatinas are well worth exploring. A purposeful and dynamic intermediate level movement for solo piano. The repeats do not playback in the realisation. Clarity in the articulation of the music achieved by shortening some of the notes and an increasing the dynamics. Smorzando translates as dying away. The realisation plays back at 116 quarter note (crotchet) beats to the minute and Allegro is the indicated tempo marking in the sheet music score. Whilst musical ideas need to be clearly articulated there should not be exaggeration in the playing. There is opportunity to practice crossing over of hands. Many of the early published scores of this movement have score detail that possibly is more suitable for the dry acoustic of earlier wooden framed pianos. Pianists may wish to add their own additional score detail particularly in respect to the articulation of notes but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent or tenuto marking but not too many! Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement does suggest more romantic than classical music. Dussek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score whilst the edited music score is available for one credit. Close

Second Movement Rondo from Sonatina in E Flat No.6 Opus 20 (Plain Score)

The music of J. L. Dussek is well worth discovering and playing. His Opus 20 Sonatinas are brimming with invention and musical interest and are perfec Show More...

The music of J. L. Dussek is well worth discovering and playing. His Opus 20 Sonatinas are brimming with invention and musical interest and are perfect for developing a secure technique on a piano. This is music that both expresses and possesses the joy of its time. A rondo is a movement with a recurring theme. The repeats do not playback in the realisation. Music that has design and clear direction that is essentially pianistic. Musical ideas need to be clearly articulated without necessarily being exaggerated. The realisation plays back at a tempo of 72 dotted quarter note (crotchet) beats to the minute. Many of the early published scores of this movement have score detail that possibly is more suitable for the dry acoustic of earlier wooden framed pianos. Pianists may wish to add their own additional score detail particularly in respect to the note articulations but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent or tenuto marking but this aspect of performance is secondary to the requirement for secure fingering as encourages secure technique. Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement suggests that this is more romantic than classical music. Dusssek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score and an edited music score with suggested fingering is available from PlentyMusic for one credit. In the edited music score the suggested fingering is notated above the note for the right hand and below the note for the left hand. Look out for the changing finger on a note which currently cannot be represented as clearly as the music editor intends. Bar 10 and 61 should logically contain the same music but they don’t. Players may well want to consider how they approach these two bars. A possible error in the score but by whom? The copyist, the engraver(s) or even the composer? It’s a much better question than you imagine because music printing of the distant past had so many inconsistencies. The music editor’s view is simply that many composers just did not have time to proof read the printer’s copy. Close

First Movement from Sonatina in E Flat No.6 Opus 20 (Plain Score)

Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. His Opu Show More...

Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. His Opus 20 Sonatinas are well worth exploring. A purposeful and dynamic intermediate level movement for solo piano. The repeats do not playback in the realisation. Clarity in the articulation of the music achieved by shortening some of the notes and an increasing the dynamics. Smorzando translates as dying away. The realisation plays back at 116 quarter note (crotchet) beats to the minute and Allegro is the indicated tempo marking in the sheet music score. Whilst musical ideas need to be clearly articulated there should not be exaggeration in the playing. There is opportunity to practice crossing over of hands. Many of the early published scores of this movement have score detail that possibly is more suitable for the dry acoustic of earlier wooden framed pianos. Pianists may wish to add their own additional score detail particularly in respect to the articulation of notes but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent or tenuto marking but not too many! Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement does suggest more romantic than classical music. Dussek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score whilst the edited music score is available for one credit. Close

Second Movement Rondo from Sonatina in G (Edited)

The movement is an improver level work and excellent for developing a secure and reliable keyboard technique. Dussek a Czech composer contributed much Show More...

The movement is an improver level work and excellent for developing a secure and reliable keyboard technique. Dussek a Czech composer contributed much fine music to the piano repertoire. This short movement is described as a rondo in the tempo of a minuet. The first and last main sections are in G major whilst the middle section is in the tonic minor: G minor. A tempo of 50 dotted quarter notes (crotchet) beats to the minute is used in the realisation. Allegretto would be the most appropriate tempo marking. The articulation markings familiar in older editions of this movement frequently include staccato, tenuto and accents in their score detail. Understanding that the thinner toned pianos of earlier times possibly required more exaggerated playing to communicate the musical ideas. The music editor prefers a more minimalist approach as far as indicating score detail particularly in respect to note articulations. The best advice is always to mark your own music copy of the score from knowledge of playing the music score, listening to performances and possibly from a music lesson or two. Generally, in music of this style and period it is a legato keyboard touch that should be encouraged. Exaggerated playing particularly on modern instruments should be avoided. Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is the practice in modern piano recitals. The chromaticism in this movement does suggest a more romantic approach than classical. Dusssek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed much fine music for the harp.The plain score is available as a free score from PlentyMusic whilst an edited music score is available for 1 credit from PlentyMusic. Close

Second Movement Rondo from Sonatina in G No.1 (Plain)

The movement is an improver level work and excellent for developing a secure and reliable keyboard technique. Dussek a Czech composer contributed much Show More...

The movement is an improver level work and excellent for developing a secure and reliable keyboard technique. Dussek a Czech composer contributed much fine music to the piano repertoire. This short movement is described as a rondo in the tempo of a minuet. The first and last main sections are in G major whilst the middle section is in the tonic minor: G minor. A tempo of 50 dotted quarter notes (crotchet) beats to the minute is used in the realisation. Allegretto would be the most appropriate tempo marking. The articulation markings familiar in older editions of this movement frequently include staccato, tenuto and accents in their score detail. Understanding that the thinner toned pianos of earlier times possibly required more exaggerated playing to communicate the musical ideas. The music editor prefers a more minimalist approach as far as indicating score detail particularly in respect to note articulations. The best advice is always to mark your own music copy of the score from knowledge of playing the music score, listening to performances and possibly from a music lesson or two. Generally, in music of this style and period it is a legato keyboard touch that should be encouraged. Exaggerated playing particularly on modern instruments should be avoided. Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is the practice in modern piano recitals. The chromaticism in this movement does suggest a more romantic approach than classical. Dusssek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed much fine music for the harp.The plain score is available as a free score from PlentyMusic whilst an edited music score is available for 1 credit from PlentyMusic. Close

First Movement Sonatina in G No.1 Opus 20 (Edited)

The music editor suggests that this is a great movement to clarify where someone is with their #piano playing. Dussek a Czech composer contributed mu Show More...

The music editor suggests that this is a great movement to clarify where someone is with their #piano playing. Dussek a Czech composer contributed much fine music to both the piano and harp repertoire. The movement needs to be played with a lightness in the hands and fingers. It is a good test of evaluating both technique and musical understanding/comprehension not that one always wants to do this by a formal examination. The musical ideas do need to be articulated with clarity and some notes are shorter than others and some phrases need to be emphasised more than others. Some use of the sustaining pedal is suggested although pedal markings are not indicated in the sheet music score. This is music from a time when musical ideas need to be articulated without necessarily being exaggerated which is an element often suggested in edited copies of the score. Many of the early published scores of this movement have score detail that possibly is more appropriate for the dry acoustic of an earlier wooden framed pianos. Pianists may wish to add their own score detail particularly in respect to the articulation of notes but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent, a tenuto marking or possibly phrase markings but the first focus needs to be establishing secure fingering to enable the development of a fine legato when playing the piano. Music editing is very much a continuing process. Keyboard players should continually review their performances reviewing the score detail whether it be the choice of fingering, phrase markings or note articulations. Dussek was a Czech composer and like Beethoven a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement does suggest a more romantic context than a classical one. Dussek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score whilst an edited music score is available from PlentyMusic for one credit. Close

First Movement Sonatina in G No.1 Opus 20 (Plain)

The music editor suggests that this is a great movement to clarify where someone is with their #piano playing. Dussek a Czech composer contributed mu Show More...

The music editor suggests that this is a great movement to clarify where someone is with their #piano playing. Dussek a Czech composer contributed much fine music to both the piano and harp repertoire. The movement needs to be played with a lightness in the hands and fingers. It is a good test of evaluating both technique and musical understanding/comprehension not that one always wants to do this by a formal examination. The musical ideas do need to be articulated with clarity and some notes are shorter than others and some phrases need to be emphasised more than others. Some use of the sustaining pedal is suggested although pedal markings are not indicated in the sheet music score. This is music from a time when musical ideas need to be articulated without necessarily being exaggerated which is an element often suggested in edited copies of the score. Many of the early published scores of this movement have score detail that possibly is more appropriate for the dry acoustic of an earlier wooden framed pianos. Pianists may wish to add their own score detail particularly in respect to the articulation of notes but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent, a tenuto marking or possibly phrase markings but the first focus needs to be establishing secure fingering to enable the development of a fine legato when playing the piano. Music editing is very much a continuing process. Keyboard players should continually review their performances reviewing the score detail whether it be the choice of fingering, phrase markings or note articulations. Dussek was a Czech composer and like Beethoven a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement does suggest a more romantic context than a classical one. Dussek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score whilst an edited music score is available from PlentyMusic for one credit. Close

Minuet in A D.334 | piano

Schubert’s Minuet in A D.334 is a hidden gem of the music repertoire and needs to played to become better known by instrument players and audiences. Show More...

Schubert’s Minuet in A D.334 is a hidden gem of the music repertoire and needs to played to become better known by instrument players and audiences. An ideal concert even encore movement. There are also many arrangements to be discovered on the PlentyMusic website for different combinations of instruments. The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score whilst the falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager. No piano pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. Close

Study in Canon No.5 arr. two pianos

Debussy’s two piano arrangement of Schumann’s original version for pedal piano. The pedal piano was an instrument used by organists as a practice Show More...

Debussy’s two piano arrangement of Schumann’s original version for pedal piano. The pedal piano was an instrument used by organists as a practice instrument. A quite vivid movement although one isn’t sure what Schumann’s original intention is endeavouring to describe although from the music view a march pattern is suggested both by the time signature and the musical ideas. The two piano version has a playback tempo of 104 quarter note (crotchet) beats to the minute. The tempo direction in the score is to play the movement “Not too fast.” A canon arises in the description of a musical piece simply because musical ideas are imitated by another voice or instrument. It doesn’t necessarily describe the overall form or structure of a piece. The Study in Canon No.5 is in three sections ABA’ with Section B beginning at bar 37 and the varied repeat of A at bar 83. Understand that the canonic element in Schumann’s time references all the musical elements and not just pitch: dynamics, articulation, ornamentation are all part of the canonic process. The crushed notes or acciaccaturas are a prominent musical feature. This is essentially a study in the articulation of short notes and occasional longer notes. Compositional process is evident from bar 49 where the canonic element involves inversion. This is a challenging music setting to engrave and prepare for print mainly because the score has so much detail which is not easy to represent with clarity on the sheet music page. Accompaniments are available featuring the Piano 1 sounding on one side of the stereo channel and Piano 2 on the other. They play at 92, 96, 100 and 104 quarter note (crotchet) beats to the minute enabling the pianists to incorporate ensemble practice as part of their routine. Close

Study in Canon No.5 Opus 56 arr. piano duet (piano 4 hands)

The piano duet or music for piano 4 hands version has a playback tempo of 100 quarter note (crotchet) beats to the minute. A canon arises in the descr Show More...

The piano duet or music for piano 4 hands version has a playback tempo of 100 quarter note (crotchet) beats to the minute. A canon arises in the description of a musical piece simply because musical ideas are imitated by another voice or instrument. It doesn’t necessarily describe the overall form or structure of a piece. The Study in Canon No. 5 is in three sections ABA’ with Section B beginning at bar 37 and the varied repeat of A at bar 83. Understand that the canonic element in Schumann’s time references all the musical elements and not just pitch: dynamics, articulation, ornamentation are all part of the canonic process. The crushed notes or acciaccaturas are a prominent musical feature. This is essentially a study in the articulation of short notes and occasional longer notes. Compositional process is evident from bar 49 where the canonic element involves inversion. This is a challenging music setting to engrave and prepare for print mainly because the score has so much detail which is not easy to represent with clarity on the sheet music page. Accompaniments are available featuring the primo part sounding on one side of the stereo channel and the secondo on the other. They play at 92, 96, 100 and 104 quarter note (crotchet) beats to the minute enabling the pianists to incorporate ensemble practice as part of their routine. Close

Study in Canon No.5 Opus 56 arr. organ

Robert Schumann’s Study in Canon No. 5 from his Opus 56 collection is a challenging movement to play and interpret. Whilst the music is quite vivid, Show More...

Robert Schumann’s Study in Canon No. 5 from his Opus 56 collection is a challenging movement to play and interpret. Whilst the music is quite vivid, the context is unclear in what is structurally a ternary form movement. The organ version has a playback tempo of 96 quarter note (crotchet) beats to the to the minute. The tempo direction in the score is to play the movement “Not too fast.” A canon arises in the description of a musical piece simply because musical ideas are imitated by another voice or instrument. It doesn’t necessarily describe the overall form or structure of a piece. The Study in Canon No. 5 is in three sections ABA’ with Section B beginning at bar 37 and the varied repeat of A at bar 83. The canonic element in Schumann’s time references all the musical elements and not just pitch: dynamics, articulation, ornamentation are all part of the canonic process. The crushed notes or acciaccaturas are a prominent musical feature. This is essentially a study in the articulation of short notes and occasional longer notes. Compositional process is evident from bar 49 where the canonic element involves inversion. There are some limitations regarding the range and choice of organ sounds in the realisation. Players should listen to performances on actual instruments available on streaming media. Close

Study in Canon No.1 arr. two pianos

A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in this work composed at a time that Schumann was Show More...

A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in this work composed at a time that Schumann was intent on restoring rigour and contrapuntal discipline in his compositional approach. Whilst this music references the past there is a romantic twist or two in the harmonic language. A tempo of 76 quarter note (crotchet) beats to the minute is used in the realisation. Trills begin on the note and have been written out in the video score. Understand that the melodic and rhythmic shapes of the ornaments are constant throughout the whole movement. Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently many other arrangements have been created. The two piano parts piano 1 and piano 2 can be also be downloaded as an mp3 accompaniment enabling players to enjoy an ensemble music experience playing either the piano 1 or piano 2. Piano 1 sounds on one side of the stereo channel and piano 2 part on the other. The accompaniments play at 64, 68, 72,76 and 80 quarter note (crotchet) beats to the minute. There is a 2 bar click beat before the music starts playing. When performing printing two pages of music onto one side of A4 offers a practical solution for players. Close

First Movement Allegro from Sonata for Piano Duet in D K.381

The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it Show More...

The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it has been described as a reduction of an Italian symphony and is contemporary with his opera Lucio Silla K.135 composed when he was aged 16. The First Movement: Allegro is typically Mozartian both in spirit and musical content. The realisation plays back at 144 quarter note (crotchet) beats to the minute. It is a very purposeful movement requiring light hands which is perhaps a musical element difficult to suggest in a realisation. The repeats although marked in the score are not played. There is plenty of opportunity for players to fine tune their playing of legato and staccato touches and to develop tremolo playing. The music editor favours a dry acoustic in recordings enabling clarity in the communication of the music. Accompaniments in mp3 format recorded at 256kbps which have a 4 bar count in are available at 120, 132 and 144 quarter note (crotchet) beats to the minute. For those needing more information on how to play the ornaments refer to the video score on our YouTube channel where the ornaments have been written out to give clarity to what is a confusing area. When learning a movement it is often best to omit the ornamentation in the first instance. Close

Second Movement Andante from Sonata for Piano Duet in D K381

A slow movement in the subdominant key of G requiring a legato piano touch with some occasional staccato articulations which are indicated in the musi Show More...

A slow movement in the subdominant key of G requiring a legato piano touch with some occasional staccato articulations which are indicated in the music score. There is a some lovely sharing of the melodic material between the primo and secondo parts in this quite beautiful classical movement. A beautifully balanced movement from the point of view of musical texture. It is a two section AB binary movement although the repeats are not played in the realisation. Performers may wish to review the articulations suggested and if changes are made they do need to be made consistently and be in keeping with the style. Accompaniments are available at 52, 54, 56, 58, and 60 quarter note beats to the minute. There is a two bar count in, featuring the sound of the woodblock, with the first bar in eighth notes (quavers) and the second bar in quarter notes (crotchets). For those needing more information on how to play the ornaments refer to the video score on our YouTube channel where they have been written out to give clarity to what is often a confusing area. When learning a movement it is often best to omit the ornamentation in the first instance. Close

Third Movement Allegro molto from Sonata for Piano Duet in D K381

The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it Show More...

The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it has been described as a reduction of an Italian symphony and is contemporary with his opera Lucio Silla K.135 composed when he was aged 16. The First Movement: Allegro is typically Mozartian both in spirit and musical content. The realisation plays back at 144 quarter note (crotchet) beats to the minute. It is a very purposeful movement requiring light hands which is perhaps a musical element difficult to suggest in a realisation. The repeats although marked in the score are not played. There is plenty of opportunity for players to fine tune their playing of legato and staccato touches and to develop tremolo playing. The music editor favours a dry acoustic in recordings enabling clarity in the communication of the music. Accompaniments in mp3 format recorded at 256kbps which have a 4 bar count in are available at 120, 132, 138 and 144 quarter note (crotchet) beats to the minute. For those needing more information on how to play the ornaments refer to the video score on our YouTube channel where the ornaments have been written out to give clarity to what is a confusing area. When learning a movement it is often best to omit the ornamentation in the first instance. Close

Study in Canon No.6 arr. two pianos

The Debussy arrangements of Schumann’s Studies in Canon for Two Pianos are an exploration of Schumann’s original music from both the spatial and Show More...

The Debussy arrangements of Schumann’s Studies in Canon for Two Pianos are an exploration of Schumann’s original music from both the spatial and textural point of view. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in its style and reminiscent of Bach’s 4 part chorale writing although with chromatic harmony of Schumann’s own time. 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 returns to the mood and style of the first section although this section has both more contrast and drama. Schumann’s intention is to combine beauty of sound with a legato touch and it is important for pianists to aim for the best legato possible in their playing. The realisation plays back at 60 quarter note beats to the minute with the tempo marked as 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 out PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills in this time begin on the note. The final chord should be spread evenly from the lowest to the highest sound. 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 pianists to explore and develop their ensemble skills. The piano 1 part sounds on one side of the stereo channel and piano 2 on the other. There are four accompaniments available in the tempo range from 58 to 64 quarter beats to the minute. Close

Study in Canon No.6 Opus 56 arr. piano duet (piano 4 hands)

The piano duet arrangement of Schumann’s Studies in Canon by Bizet are hidden treasures in the repertoire. Bizet’s exploration of Schumann’s mus Show More...

The piano duet arrangement of Schumann’s Studies in Canon by Bizet are hidden treasures in the repertoire. Bizet’s exploration of Schumann’s music adds to the composer’s original intention by exploring the musical texture in a broader musical space. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in its style and certainly in the first instance reminiscent of Bach’s 4 part chorale writing although with romantic chromatic 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. Schumann’s original intention is to combine beauty of sound with a legato touch and it is important for pianists to aim for the best legato possible in their playing. 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. 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. Do explore the solo piano, piano duet, two piano and trio versions available on the PlentyMusic website. Accompaniments are also available enabling pianists to explore and develop their ensemble skills. The primo part sounds on one side of the stereo channel and the secondo part on the other. There are four accompaniments available in the tempo range from 58 to 64 quarter beats to the minute. Close

Study in Canon No.6 Opus 56 arr. piano

This quiet slow movement in reflective mood with a compositional approach that is vocal in its style and reminiscent of Bach’s 4 part chorale writin Show More...

This quiet slow movement in reflective mood with a compositional approach that is vocal in its style and reminiscent of Bach’s 4 part chorale writing although presented with 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. Schumann’s intention is to combine beauty of sound with a legato touch and it is important for pianists to aim for the best legato possible in their playing. The realisation plays back at 56 quarter note beats to the minute with the tempo is marked adagio in the score. The challenge playing the piano version is simply managing the musical lines and imitation embraced in the texture. The music editor suggests playing through the separate lines of the score to gain understanding of the compositional process and points of imitation. 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. The final chord should be spread evenly from the lowest to the highest sound. 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. It is quite understandable that other composers and arrangers have re-visited the Studies in Canon by Schumann, in a practical way, with arrangements for various instrument combinations. These arrangements encourage a clearer understanding of the contrapuntal aspects of the original composer’s writing. Do explore the organ, piano duet, two piano and trio versions available on the PlentyMusic website. Close

Study in Canon No.6 Opus 56 arr. organ

This quiet slow movement in reflective mood is vocal in its style and reminiscent of Bach’s 4 part chorale writing although featuring chromatic harm Show More...

This quiet slow movement in reflective mood is vocal in its style and reminiscent of Bach’s 4 part chorale writing although featuring chromatic harmony associated with the romantic era. 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 first section is essentially a 4 part chorale featuring romantic chromatic harmony from Schumann’s own time rather than the diatonic harmony of Bach’s time. The second middle section is presented as a fugal exposition whilst 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. Schumann’s intention is to combine beauty of sound with a legato touch and it is important for organists to aim for the best legato possible in their playing. The realisation plays back at 60 quarter note beats to the minute with the tempo indication in the score marked as adagio. This is an absorbing and challenging movement to with a particular challenge being to communicate the imitation that is evident in the music score. The music editor suggests playing through the separate lines of the score to gain understanding of the compositional process and points of imitation. This is also a challenging movement from the music reading point of view because of the chromaticism and tied notes and playing at a slow tempo. In the organ realisation two organ sounds have been used. 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. In the organ arrangement there is the possibility of adding an additional trill on the G# in bar 31. 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 players to chamber music playing. It is quite understandable that other composers and arrangers have re-visited the Studies in Canon by Schumann, in a practical way, with arrangements for various instrument combinations. These arrangements encourage a clearer understanding of the contrapuntal aspects of the original composer’s writing. Explore the solo piano, piano duet, two piano and trio versions available on the PlentyMusic website. Close

Rondeau from Sonata Concertata Opus 61 arr. solo piano

This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Con Show More...

This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are are typically found as the lasts movements of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 96 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are in this category. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. 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. He also left a teaching legacy as well as his compositions and a well-documented and renowned performance history. Close

Thirds Right Hand Technical Drill

Technical Drill Right Hand Thirds: The letter names of the notes can be seen in the note heads which will useful in learning the note positions in Show More...

Technical Drill Right Hand Thirds: The letter names of the notes can be seen in the note heads which will useful in learning the note positions in this chromatic exercise. Why practice thirds? To strengthen the fingers - particularly the weaker 4th and 5th fingers. Practicing thirds is a very good way to develop legato playing. Thirds have a context in performance pieces and musical composition in general. Tips: Keep the fingers near to the keys. Understand: Imagine the weight of the hand goes downwards through the fingers and to the keys. How to practice: The play back tempo is 100 quarter notes beats to the minute but do not be afraid to start at a slower tempo. Play the right hand and left hand separately starting in different octave ranges of the keyboard or piano If the fingers and hands get tense - stop! Relax the hands and arms by your side and start again. Aim for legato playing (smooth - no gaps) and keep to the specified fingering. Remember: that for both the left hand and right hand fingering is the same in piano playing thumb = 1, index = 2, middle = 3, ring = 4 and 5 = the little finger Further Study: When you are confident with what you extend the exercise and give more work to the weaker fingers. Develop some rhythmic variants of the patterns. You can always record and send them as an an mp3 to PlentyMusic and these can perhaps be shared. Listen: Composers such as Chopin, Debussy, Rachmaninov and Kapustin have explored the intervals of a third in technical studies known as Etudes which exist as important and often challenging repertoire for the pianist. Close

Thirds Left Hand Technical Drill

Technical Drill Left Hand Thirds: The letter names of the notes can be seen in the note heads which will helpful in learning the note positions in Show More...

Technical Drill Left Hand Thirds: The letter names of the notes can be seen in the note heads which will helpful in learning the note positions in this chromatic exercise. Why practice thirds? To strengthen the fingers - particularly the weaker 4th and 5th fingers. Practicing thirds is a very good way to develop legato playing. Thirds have a context in performance pieces and musical composition in general. Tips: Keep the fingers near to the keys. Understand: Imagine the weight of the hand goes downwards through the fingers and to the keys. How to practice: The play back tempo is 100 quarter notes beats to the minute but do not be afraid to start at a slower tempo. Play the right hand and left hand separately starting in different octave ranges of the keyboard or piano. If the fingers and hands get tense - stop! Relax the hands and arms by your side and start again. Aim for legato playing (smooth - no gaps) and keep to the specified fingering. Remember: that for both the left hand and right hand fingering is the same in piano playing thumb = 1, index = 2, middle = 3, ring = 4 and 5 = the little finger. Further Study: When you are confident with what you extend the exercise and give more work to the weaker fingers. Develop some rhythmic variants of the patterns. You can always record and send them as an an mp3 to PlentyMusic and these can perhaps be shared. Listen: Composers such as Chopin, Debussy, Rachmaninov and Kapustin have explored the intervals of a third in technical studies known as Etudes which exist as important and often challenging repertoire for the pianist. Close

Gigue en rondeau No.2 arr. organ

This is music worthy of attention and an excellent movement for a keyboard player keen to make progress. The music editor often plays it at weddings. Show More...

This is music worthy of attention and an excellent movement for a keyboard player keen to make progress. The music editor often plays it at weddings. The repeating section has been written out simply for clarity as far as reading the music is concerned. In some editions there is a repeat of the opening 12 bar section but in performance this does rather spoil the symmetry of the movement. The music is presented in a plain score format with minimal score detail. Rameau was a leading French composer of both opera and harpsichord music and also known as a music theorist publishing a Treatise on Harmony in 1722. His music was largely out of fashion by the end of the 18th but there is a renewed interest in his music with recent performances and recordings. Interestingly he didn’t start composing opera until he was in his 50’s. He was one of the masters of 18th century French school of harpsichordists, publishing collections in 1706, 1724 and 1727. This particular movement comes from one of the suites from the 1724 collection. Whilst his keyboard music was intended for the harpsichord in more recent times it is frequently performed on the piano and there are transcriptions of movements available for the organ. The music editions available do generally relate to performances on the harpsichord and these generally have ornaments played in both hands which is something not so common in piano music. The rondeau is a form derived from early French poetry which was shared with the chanson (song form) in the medieval and Renaissance times. It features a repeating refrain (or chorus) and something in time that was adopted in both dance and instrumental forms. The form of this particular movement can be represented as ABACADA with A representing the repeating refrain or chorus. The fact that there are different numbers of bars in each of the phrases is most likely a connection to the poetry structure of earlier times. In the organ version which plays back at 96 dotted quarter notes to the minute the repeating refrain section is played on one manual whilst the sections described as episodes are played on a second manual or at least with a different registration. It is suggested that the pedal notes be played on a 16’ stop. Close

Gigue en rondeau No.2 from the Suite in E minor

This is music worthy of attention and an excellent movement for a keyboard player keen to make progress. The repeating section has been written out si Show More...

This is music worthy of attention and an excellent movement for a keyboard player keen to make progress. The repeating section has been written out simply for clarity as far as reading the music is concerned. In some editions there is a repeat of the opening 12 bar section but in performance this does rather spoil the symmetry of the movement. The music is presented in a plain score format with minimal score detail. Rameau was a leading French composer of both opera and harpsichord music and also known as a music theorist publishing a Treatise on Harmony in 1722. His music was largely out of fashion by the end of the 18th but there is a renewed interest in his music with recent performances and recordings. Interestingly he didn’t start composing opera until he was in his 50’s. He was one of the masters of 18th century French school of harpsichordists, publishing collections in 1706, 1724 and 1727. This particular movement comes from one of the suites from the 1724 collection. Whilst his keyboard music was intended for the harpsichord in more recent times it is frequently performed on the piano and there are transcriptions of movements available for the organ. The music editions available do generally relate to performances on the harpsichord and these generally have ornaments played in both hands which is something not so common in piano music. The rondeau is a form derived from early French poetry which was shared with the chanson (song form) in the medieval and Renaissance times. It features a repeating refrain (or chorus) and something in time that was adopted in both dance and instrumental forms. The form of this particular movement can be represented as ABACADA with A representing the repeating refrain. The fact that there are different numbers of bars in each of the phrases is most likely a connection to the poetry structure of earlier times. The piano version plays back at 96 dotted quarter notes to the minute. There are many recordings of this movement including one or two which are quite free in their interpretation particularly of the repeating refrain section turning it almost into an improvisation. Close

Gigue en rondeau No.1 arr. organ

In a performance context the Gigue en rondeau No.1 would be followed by Gigue en rondeau No.2. The two Gigue en rondeau from Rameau’s Suite in E min Show More...

In a performance context the Gigue en rondeau No.1 would be followed by Gigue en rondeau No.2. The two Gigue en rondeau from Rameau’s Suite in E minor from his 1724 collection are excellent movements for a keyboard player to explore. The repeating sections have been written out simply for clarity as far as reading the music is concerned. In some editions there is a repeat of the opening 8 bar section but in a performance this does rather spoils the symmetry of the movement. The music is presented in a plain score format with minimal score detail and ornamentation has been deliberately omitted. Rameau was a leading French composer of both opera and harpsichord music and also known as a music theorist publishing a Treatise on Harmony in 1722. His music was largely out of fashion by the end of the 18th but there is a renewed interest in his music with recent performances and recordings. Interestingly he didn’t start composing opera until he was in his 50’s. He was one of the masters of 18th century French school of harpsichordists, publishing collections in 1706, 1724 and 1727. Whilst his keyboard music was intended for the harpsichord in more recent times it is frequently performed on the piano and there are transcriptions of many movements available for the organ. The music editions available do generally relate to performances on the harpsichord and these generally have ornaments played in both hands which is not something so common in piano music. The rondeau is a form derived from early French poetry which was shared with the chanson (song form) in the medieval and Renaissance times. It features a repeating refrain (or chorus) and something in time that was adopted in both dance and instrumental forms. The form of this particular movement can be represented as ABACA with A representing the repeating refrain or chorus. The organ version plays back at 84 dotted quarter notes to the minute. Close

Gigue en rondeau No.1 from the Suite in E minor

In a performance context the Gigue en rondeau No.1 would be followed by Gigue en rondeau No.2. The two Gigue en rondeau from Rameau’s Suite in E min Show More...

In a performance context the Gigue en rondeau No.1 would be followed by Gigue en rondeau No.2. The two Gigue en rondeau from Rameau’s Suite in E minor from his 1724 collection are excellent movements for a keyboard player to explore. The repeating sections have been written out simply for clarity as far as reading the music is concerned. In some editions there is a repeat of the opening 8 bar section but in a performance this does rather spoils the symmetry of the movement. The music is presented in a plain score format with minimal score detail and ornamentation has been deliberately omitted. Rameau was a leading French composer of both opera and harpsichord music and also known as a music theorist publishing a Treatise on Harmony in 1722. His music was largely out of fashion by the end of the 18th but there is a renewed interest in his music with recent performances and recordings. Interestingly he didn’t start composing opera until he was in his 50’s. He was one of the masters of 18th century French school of harpsichordists, publishing collections in 1706, 1724 and 1727. Whilst his keyboard music was intended for the harpsichord in more recent times it is frequently performed on the piano and there are transcriptions of many movements available for the organ. The music editions available do generally relate to performances on the harpsichord and these generally have ornaments played in both hands which is not something so common in piano music. The rondeau is a form derived from early French poetry which was shared with the chanson (song form) in the medieval and Renaissance times. It features a repeating refrain (or chorus) and something in time that was adopted in both dance and instrumental forms. The form of this particular movement can be represented as ABACA with A representing the repeating refrain or chorus. The piano version plays back at 84 dotted quarter notes to the minute. Close

Study in Canon No.3 Opus 56 arr. piano duet (piano 4 hands)

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 p Show More...

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 and for those that require clarity on how they should be played refer to the video score on our YouTube channel. The performance practice with this movement the music editor would suggest is at times ambiguous and at best inconsistent. The music editor has avoided suggesting a rit at the end of the movement although in performance this is an option. 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 whilst the piano trio arrangements of Kirchner provide additional repertoire and ensemble opportunities. 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 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 80|100|80 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 76|90|76 quarter (crotchet) note beats to the minute, Accompaniment 3 at 72|84|72 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 68|80|68 quarter (crotchet) note beats to the minute. The two bar count in features 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

Study in Canon No.3 arr. two pianos

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 p Show More...

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 and for those that require clarity on how they should be played refer to the video score on our YouTube channel. The performance practice with this movement the music editor would suggest is at times ambiguous and at best inconsistent. The music editor has avoided suggesting a rit at the end of the movement although in performance this is an option. 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 whilst the piano trio arrangements of Kirchner provide additional repertoire and ensemble opportunities. 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 accompaniment downloads available enable players to enjoy an ensemble music experience playing the violin parts. Accompaniment 1 plays at 80|100|80 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 76|90|76 quarter (crotchet) note beats to the minute, Accompaniment 3 at 72|84|72 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 68|80|68 quarter (crotchet) note beats to the minute. The two bar count in features 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

Study in Canon No.3 Opus 56 organ

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 p Show More...

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. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. 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 composers 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 whilst the piano trio arrangements of Kirchner offer excellent additional repertoire.When playing this music on the organ understand than it was composed for an instrument described as a pedal piano which had one keyboard with a pedal board. It was often used as a practice instrument by organists. It is possible to see one being played on YouTube. Close

Study in Canon No.4 arr. two pianos

The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the ro Show More...

The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the romantic period and both ordered and appealing music 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 in the video score is clearly not as nuanced as a live performance. Pianists should approach playing the Study in Canon No.4 with a lightness in the hands ensuring that there is clarity in their understanding of the musical texture. The texture is straightforward 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. There is value in pianists playing through each of the lines to understand the imitation processes that are incorporated in the score. The music included in Robert Schumann’s Opus 56 collection has been arranged by Georges Bizet for piano duet and Claude Debussy for two pianos and in these arrangements the composing principles of canon and imitation aspects are much easier to explore. Players need to pay attention to the rhythmic detail and the chromatic detail. The mordents have been written out in the video score although the music editor suggests omitting the small decorative/ornamental notes in the early stages of learning the movement. The uses 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. Pianists will need to ensure that the reading of the notes and accidentals is accurate as the chromatic element in the movement is strong. 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) as far as tempo is concerned. Players may well wish to make use of the piano sustaining pedal although its use has not been indicated in the sheet music score. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Piano 1 or Piano 2 part. The Piano 1 sounds on the one side of the stereo channel channel and the Piano 2 on the other. 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. 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 88 eighth (quaver) note beats to the minute. Accompaniment 4 plays at 80 eighth (quaver) note beats to the minute in the first section and 90 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. In a performance situation printing two pages of music onto one side of A4 offers a practical solution for players. Close

Study in Canon No. 4 arr. organ

The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the ro Show More...

The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the romantic period and are ordered and appealing music 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 rather than directly imitating or copying it. The texture is straightforward 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 68 eighth (quaver) notes to the minute in the first section from bar 1 to 19 and then 72 eighth notes for the remainder of the movement with the occasional slowing down or rit. 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. There is value in organists playing through the lines to understand the imitation processes that are incorporated in the score. The music included in Robert Schumann’s Opus 56 collection has been arranged by Georges Bizet for piano duet and Claude Debussy for two pianos and in these arrangements the composing principles of canon and imitation aspects are much easier to explore. Players need to pay attention to the rhythmic and chromatic detail. The mordents have been written out in the video score whilst the small decorative notes in bars 17, 19 and 65 do not sound. In the video score each line of music is associated with a stave and so the music is presented slightly differently to how it appears in the sheet music score. The video score plays at 72 quaver beats from bar 1 – 18 and and then in the piu mosso section at 80 eighth notes (quaver) to the minute. Organists will need to ensure that their reading of the notes and accidentals is accurate as the chromatic element in the movement is strong . 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) as far as tempo is concerned. Close

Study in Canon No. 4 arr. piano duet (piano 4 hands)

The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the ro Show More...

The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the romantic period and are ordered and appealing music 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 direct imitating or copying. The realisation in the video score is clearly not as nuanced as a live performance. Pianists should approach playing thee Opus 56 pieces with a lightness in the hands ensuring that there is clarity in their understanding of the musical texture. The texture is transparent 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. There is value in pianists playing through the lines to understand the imitation processes that are incorporated in the score. The music included in Robert Schumann’s Opus 56 collection has been arranged by Georges Bizet for piano duet and Claude Debussy for two pianos and in these arrangements the composing principles of canon and imitation aspects are much easier to explore. Players need to pay attention to the rhythmic detail and the chromatic detail. The mordents have been written out in the video score although the music editor suggests omitting the small decorative/ornamental notes in the early stages of learning the movement. The uses 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. In the video score each line of music is associated with a stave and so the music is presented slightly differently to how it appears in the sheet music score. The video score plays at 72 quaver beats from bar 1 – 18 and and then in the piu mosso section at 80 eighth notes (quaver) to the minute. Pianists will need to ensure that the reading of the notes and accidentals is accurate as the chromatic element in the movement is strong . 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) as far as tempo is concerned. Players may well wish to make use of the piano sustaining pedal although its use has not been indicated in the sheet music score. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo part. The primo part sounds on the one side of the stereo channel channel and the secondo on the other. 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. 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 then 88 eighth (quaver) note beats to the minute. Accompaniment 4 plays at 80 eighth (quaver) note beats to the minute in the first section and then 90 eighth (quaver) note beats to the minute.Accompaniment 5 plays at 82 eighth (quaver) note beats to the minute in the first section and then 92 eighth (quaver) note beats to the minute. There is a two bar eighth note (quaver) count in to the sound of a woodblock. In a performance situation printing two pages of music onto one side of A4 offers a practical solution for players. Close

Study in Canon No. 2 arr. piano duet (piano 4 hands)

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

Study in Canon No.2 arr. two pianos

Composed in the key In the key A minor this movement in ABA ternary form has a haunting beautiful quality. Debussy has created an arrangement which h Show More...

Composed in the key In the key A minor this movement in ABA ternary form has a haunting beautiful quality. Debussy has created an arrangement which has beauty, shape and a sense of space. Debussy probably better than any other communicates the elements of the canonic study in his two piano arrangement of this movement creating the space and texture to communicate the details of the canon. Some of the detail of the scoring is different to Schumann’s original version for pedal piano. It is very interesting that other composers have re-visited Schumann’s Studies in Canon Opus 56 namely Bizet and Debussy. Tempo rubato is a musical element that could be explored in a performance although it has not been used in the realisation. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Piano I or Piano II parts. The Piano I part sounds on the one channel of the stereo signal and Piano II on the other. Accompaniment 1 plays at 69 dotted quarter (crotchet) note beats to the minute, Accompaniment 2 at 66 dotted quarter (crotchet) note beats to the minute, Accompaniment 3 at 63 quarter note beats (crotchet) to the minute and Accompaniment 4 at 60 quarter note beats to the minute. There is a two bar count in with the sound of a woodblock. As the music is in 12/8 time the music editor suggests that players should familiarise themeselves with this. In a performance situation printing two pages of music onto one side of A4 offers a practical solution for players. Close

Study in Canon No. 2 Opus 56 for organ

The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. The Show More...

The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. 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. Schumann was quite an insecure individual both in himself and in his abilities as a composer. The reason for this is both can be understood by knowing that in that his original ambition was to be a pianist and secondly that a very overbearing father-in-law. There is added significance in the observation that this scond movement Opus 56 movement is 56 bars long. Schumann had an obsession with puzzles particularly mathematical ones. When playing this music on the organ understand than it was composed for an instrument described as a pedal piano which had one keyboard which was often used as a practice instrument by organists. Unsurprisingly, in music composed for this instrument with just one keyboard there is opportunity to share parts between the hands in some sections. The realisation plays back at 66 dotted quarter notes (crotchet) beats to the minute. From the music setting point of view this is quite a challenging piece particularly sorting out the two top voices which often are together in the same clef. For the player separating the voices by playing stems up for one voice and stems down for another offers clarity in understanding of the parts. Close

Mi-a-ou from the Dolly Suite Opus 56 arr piano 4 hands (piano duet)

Mi-a-ou is the second movement of the Dolly Suite Opus 56 which was originally published as a piano duet. The realisation score plays back at a tempo Show More...

Mi-a-ou is the second movement of the Dolly Suite Opus 56 which was originally published as a piano duet. The realisation score plays back at a tempo of 72 dotted half beats (minim) beats to the minute although there is a slower section towards the end of the movement. The tempo needs to be brisk but controlled. Some use of the sustaining pedal to communicate the range of the harmonic colour is recommended in one or two sections but is not indicated in the sheet music score. The writing is very pianistic in the sense that there are not too many technical difficulties and the chords fall nicely for the fingers. Rehearsal markings are in place in the score. Duettists will need to play with a lightness in the hands and there needs to be clarity in the articulation of the melodic ideas. Fauré as a composer is capable of writing music that has great appeal for both player and audience. The rhythmic detail is always interesting and the combination of a chromatic harmony with the add reference to the modal past gives the music a modern context. There are many recordings from both recent times and the recording archive which are worth exploring. The two piano parts Primo and Secondo can be downloaded as mp3 accompaniments enabling players to enjoy an ensemble music experience playing either the Primo or Secondo part The Primo part sounds on the right channel of the stereo signal and the Secondo part sounds on the left channel. Accompaniment 1 plays at 76 dotted half notes to the minute beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 69 quarter note beats (crotchet) to the minute. There is a 4 bar click beat before the music starts playing to give a clear pulse to players. The accompaniments have been recorded at a bit rate 256 kbps. When performing printing two pages of music on to one side of A4 offers a practical solution for players. The accompaniments will be uploaded in the next few days. Close

Kitty-Valse from the Dolly Suite Opus 56 for piano 4 hands (piano duet)

Kitty-Valse is the fourth movement of the Dolly Suite Opus 56 originally published as a piano duet. The music needs to be played with a light one in a Show More...

Kitty-Valse is the fourth movement of the Dolly Suite Opus 56 originally published as a piano duet. The music needs to be played with a light one in a bar feel. Fauré as a composer is capable of writing music that has great appeal for both player and audience. The rhythmic detail is always interesting and the combination of a chromatic harmony with the added reference to the modal past gives the music a modern context. There are many recordings from both recent times and the recording archive which are worth exploring. The video score plays back at a tempo of 69 dotted half beats is the fourth movement of the (minim) beats to the minute. Some use of the sustaining pedal to communicate the range of the harmonic colour is recommended but is not indicated in the sheet music score. The realisation is possibly lacking in a lightness of touch that the music editor suggests is needed. Duettists will need to play with a lightness in the hands which is not altogether suggested in the playback of the video score. Additionally, there is probably a context for tempo rubato when playing this movement. The two piano parts primo and secondo can be downloaded as accompaniments enabling players to enjoy an ensemble music experience playing either the primo or secondo part The primo part sounds on one side of the stereo signal and the secondo part sounds on the other. Accompaniment 1 plays at 69 dotted half notes (minim) beats to the minute, Accompaniment 2 at 66 dotted half note (minim) beats to the minute Accompaniment 3 at 63 dotted half note beats (mimim) to the minute and Accompaniment 4 at 60 dotted minim beats. There is a 4 bar click beat before the music starts playing to give a clear pulse to players. The accompaniments have been recorded at a bit rate 256 kbps. When performing printing two pages of music on to one side of A4 offers a practical solution for players. Close

Rondo: Second Movement from Sonata in D for Opus 6 for piano four hands (piano duet)

The Sonata in D for piano four hands Opus 6 was published in 1797. A rondo is a piece with a recurring theme and typically used as a last movement by Show More...

The Sonata in D for piano four hands Opus 6 was published in 1797. A rondo is a piece with a recurring theme and typically used as a last movement by Beethoven in his sonatas and concertos. They frequently contain music and melodic ideas that express the composer’s sunnier and uplifting side. The Rondo from Opus 6 offers a great opportunity for pianists to develop their ensemble playing skills. The playback tempo in the video score is 112 quarter note (crotchet) beats to the minute. The sustaining pedal can and should be used in a performance although it has not been indicated in the score. Clarity in the articulation of the musical ideas is essential in a successful performance and the contrast between legato and staccato playing can be explored to the full in a performance. Beethoven’s music always has clear harmonic direction and a strong sense of drama. He is also great one for exploring musical form and the dynamic element of music and these elements are evident in what is a relatively early published work. In the video score the ornaments are written out in full. There is always great clarity of intention in the composer’s compositional approach. Accents in Beethoven’s music are quite often placed on the weaker beats of the bar to which help gives his music its characteristic restlessness. Maintaining the rhythmic independence of the musical lines is an important consideration in a performance of the movement. The loud going to soft marking fp is a very characteristic Beethoven score marking. sf in the music score indicates what is known as a forzando or a forceful accent. In the video score the ornaments have also been written out in full. The score layout is ideal for auditioning the movement as a video although the sheet music scores from the PlentyMusic website have Primo and Secondo parts separated onto different pages as is the convention for piano duets. The primo and secondo parts can be downloaded separately as “accompaniments” enabling 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. The tempos are as follows in quarter note beats to the bar Accompaniment 1 plays at 116 quarter note (crotchet) beats to the minute, Accompaniment 2 at 112 quarter note (crotchet) note beats Accompaniment 3 at 108 quarter note (crotchet) note beats and Accompaniment 4 at 104 quarter note (crotchet) note beats. There is a four bar count in /click introduction on the accompaniment mp3 files which are recorded at 256kbps.When performing printing two pages of music on to one side of A4 offers a practical solution for players. It is a good idea for players to use a metronome in their preparation. Close

Soirée Polka arr. piano four hands (piano duet)

Foster’s “ Soirée Polka” is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups alth Show More...

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 with a lightness of touch. A tempo of 108 quarter note (crotchet) beats to the minute is used in the playback score. The polka is a lively folk dance full of character originating from the area now known as Czechia (Bohemia). 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. 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 composer’s work so it was impossible for him to earn a decent living. There are a number of variants of this piece in existence so don’t be concerned if you familiar with a slightly different version. The two piano parts primo and secondo can be downloaded separately as mp3 accompaniments enabling players to enjoy an ensemble music experience playing either the primo or secondo part. The primo part sounds on one side of the stereo channel and the secondo part on the other. Accompaniment 1 plays at 108 quarter note beats (crotchet) to the minute, Accompaniment 2 at 104 quarter note (crotchet) beats to the minute, Accompaniment 3 at 100 quarter note beats (crotchet) to the minute and Accompaniment 4 at 96 quarter note beats (crotchet) to the minute.There is a 4 bar click beat before the music starts playing to give a pulse and tempo indication for players. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Study in Canon No.1 Opus 56 arr. organ

A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in a work composed, at a time that Schumann was i Show More...

A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in a work composed, at a time that Schumann was intent on restoring rigour and confidence to his own compositional process. For players a secure and even technique is needed to play this relatively short movement. Whilst this music references the past there is a romantic twist or two in the harmonic language. A tempo of 76 quarter note (crotchet) beats to the minute is used in the organ realisation. Trills begin on the note and the pattern is shown in the ossia stave in bar 7 where the trill is notated. Understand that the melodic and rhythmic shapes of the ornaments need to be played consistently throughout the movement. The trills do not sound in the organ realisation. Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently arranged for piano duet / piano four hands by Georges Bizet. There are also other versions for solo piano, two pianos and string quartet. Close

Keyboard Sonata in D minor K.417

The Keyboard Sonata in D minor K.417 is a Fuga and can be performed on either the harpsichord, organ or piano and is believed to date from 1754. It is Show More...

The Keyboard Sonata in D minor K.417 is a Fuga and can be performed on either the harpsichord, organ or piano and is believed to date from 1754. It is composed in a style that refences the past and the notation in long notes imitates the style of writing associated particularly with the polyphonic lines of church music. It has some beautiful soaring lines and is a great piece of music for both the player and listener. Domenico Scarlatti did not compose many fugues and whilst he worked in relative isolation his compositional approach anticipates and looks to the future rather than the past. His father, Alessandro was the one more inclined to compose fugues. The organ realisation plays back at 84 half note beats to the minute. Domenico Scarlatti although born in Italy spent most of his working life employed by the Royal Courts in Portugal and Spain working as a musician, composer and teacher particularly of members of the royal household. His contribution to the repertoire are his 550+ keyboard sonata most of which are very inventive pieces in AB binary form. Little of his music was published in his own lifetime. Close

Duet No.2 in F BWV 803 (Piano)

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

The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingering in place and the cadential ornamentation is written out. The second duet in F major BWV 803 is a fugue written in the form of a da capo aria ABA. The 4 Duets are part of Clavier-Übung III or the German Organ Mass and composed really at the zenith of the composer’s contrapuntal writing. The edited music score has suggested fingering in place which should serve as a useful guide in the first instance. The music editor’s concept is that once familiarised with the movement players will default to the plain score perhaps substituting their own choice of fingering when they feel it is appropriate.The tempo of the piano realisation and video score is 96 quarter note beats (crotchet) beats to the minute. A piece when played on the piano with energy and purpose that really can/does come alive. This is quite stunning contrapuntal music composed when J.S. Bach was at the top of his form. A very delicate almost paintbrush stoke is required particularly in the B section but an awareness of how to use weight in the hands is also most applicable in the A section. It is becoming one of the music editors most absorbing pieces to play and listen to simply because it explores so many aspects of articulation and performance and yet the conception is in just two parts. Pianists need to have a Lightness in the hands and touch needs to be explored at all times. Close

Sinfonia No.12 in A BWV 798 (Organ)

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

The Sinfonias of J.S. Bach are three voiced works and can be played on either the harpsichord, piano or organ. There are 15 in the collection all of which explore contrapuntal writing to the full. Bach’s intention was to prepare students for composition and a cantabile style of playing. The autograph copy of the Sinfonia’s is dated 1723. The organ realisation plays back at a tempo of 80 quarter note beats to the minute. The Two Part Inventions and Sinfonias are essential repertoire for all keyboard players and not a bad introduction to playing Bach on the organ. They are ideal “warm up” pieces. Close

Invention 8 BWV 779 organ

J.S.Bach’s Invention 8 BWV 779 in F is one of the most popular of the two part inventions and available as a free sheet music score from PlentyMusic Show More...

J.S.Bach’s Invention 8 BWV 779 in F is one of the most popular of the two part inventions and available as a free sheet music score from PlentyMusic. Cadential preparation is a strong feature and because is a relatively familiar keyboard work pianists will need to ensure that it has been well prepared before a performance. The realisation plays back at 96 quarter note or crotchet beats to the minute. Many play it faster and interestingly it is an invention without ornaments. Avoid playing the movement too loudly and keep a lightness in the hands. Remember that music cannot be played quickly until it can be played slowly. Keyboard players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Keyboard players will need to keep a lightness in the hands if they are to play the movement at tempo. Fingers will also need to be close to the keys. Fingering choices dependent on the direction in which the fingers and hands are moving also has a context with this particular invention. An uplifting and appealing invention giving keyboard players the opportunity to combine legato and detached or staccato playing. Keyboard players are in familar territory both with the harmonic outline or key journey and the compositional processes used This invention generally invites more of a consistent approach and vision which is suggested and supported by the recordings available. Again it is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. What is fascinating is to hear some of the greatest pianists and harpsichordists playing what really are considered to be learning pieces. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. 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 keyboard technique. A plain score is attached to the edited music score. Close

Fugue in G minor

There are recordings of this work played on the piano, organ and harpsichord of this fine 4 part fugue now attributed to Gottlieb Muffat. Gottlieb Muf Show More...

There are recordings of this work played on the piano, organ and harpsichord of this fine 4 part fugue now attributed to Gottlieb Muffat. Gottlieb Muffat (1690 – 1770) the son of George Muffat was a court organist and composer in Vienna becoming first organist on the accession of Maria Theresa to the throne in 1741. His compositional output mostly comprises keyboard music although much of it was not published. Toccatas, fugues, ricerare, canzonas and suites are to be found in his music collections and Handel often borrowed and reworked Muffat’s music. Muffat was a fine contrapuntist although a conservative approach is evident in his writing. This piece is often attributed to G. Frescobaldi. The chromatic element of this movement makes it a challenge to read and to complicate matters performances and sheet music copies of the music do vary in their detail. Players need to study the score carefully because at times the musical lines have conflicting accidentals. This is explained by the composer referencing the modes that originate in music from earlier times that createwhat are known as “false relations.” There is an arrangement by Bartok of this Fugue for piano although at the time ihe understood it to be a work by Frescobaldi. There need to be clarity in the articulation of the lines particular when the fugal entries are made. A tempo in the range 72 – 84 quarter note beats to the minute is suggested whilst in the realisation and video score play back at 80 quarter note beats to the minute. One of the challenges for the player is deciding which hand plays which notes in the middle voices. The music editor will upload an edited music score to the website in the future. Players also need to communicate an awareness of the musical texture in their playing. The trills begin on the note and modern performances often features additional ornaments although the music editor advises caution and consistency in their use. There are strong rhythmic motifs in the fugue and any ornamentation should not detract from the composer’s intention. There are performances that suggest that the performance practice for music of this period is not as secure as music from more well researched times. Another challenge for musicians is understanding the pitch element in the music of the period. The tuning fork was invented in 1711 and the suggestion is that the pitch standard during the Baroque period was roughly a semitone layer than modern standard pitch of A4 = 440Hz. A4 in the Baroque period was = 415Hz although pitch levels did vary around Europe. The chromatic element is a particular feature and there is a unifying downwards chromatic line that appears a number of times. Close

Duet No.2 in F BWV 803

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

The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingering in place and the cadential ornamentation is written out. The second duet in F major BWV 803 is a fugue written in the form of a da capo aria ABA. The 4 Duets are part of Clavier-Übung III or the German Organ Mass and composed really at the zenith of the composer’s contrapuntal writing. The edited music score has suggested fingering in place which should serve as a useful guide in the first instance. The music editor’s concept is that once familiarised with the movement players will default to the plain score perhaps substituting their own choice of fingering when they feel it is appropriate. The organ realisation and video score keeps to the same registration but in a performance there is opportunity to change the registration in the middle B section. The organ realisation plays back at 84 quarter note beats to the minute. Close

Canzona in F

A very attractive piece for organ or harpsichord just 56 bars in length but featuring strong musical shapes that explores the full range of the organ Show More...

A very attractive piece for organ or harpsichord just 56 bars in length but featuring strong musical shapes that explores the full range of the organ manual. A tempo in the range 84 – 96 quarter note beats to the minute is suggested with the realisation playing back at 84 quarter note beats to the minute. The movement can be played on a one manual instrument with an 8 foot stop suggested as an appropriate registration. Imitation, the use of sequence and repetition are compositional processes that feature with the full range of the keyboard being explored. The descending musical shapes and motifs need to be clearly articulated particularly at the beginning of phrases. There are 12 ornaments indicated in the score. The upper mordent note /note above/note is used on short notes while the trill is in place on notes a quarter note (crotchet) in length. As the movement progresses the texture becomes more complex and ornaments become less evident in the score. The video score which can be viewed on the YouTube channel has all the ornaments written out whilst the sheet music score has symbols in place. Ornamentation in music performance is a complex topic and additional ornaments could be added at important cadence points. The music editor argues the case for clarity and simplicity suggesting that ornaments are added when the movement can be played competently. Note that rests in silent voices are used rather inconsistently. The music editor has found recordings of this music where it has been attributed to A. Scarlatti. As music was hand copied and often shared between teachers and pupils this is a frequent occurrence in music from these early times. Domenico Zipoli (1688-1726) was an Italian Baroque composer who lived and worked as a Jesuit priest in South America. Born in Prato, near Florence he studied with Alessandro Scarlatti and Bernardo Pasquini and in Rome produced in 1716 a collection of keyboard pieces titled Sonate d’intavolatura per organo e cimbalo which includes this particular canzona. This music is still highly regarded and playable by an intermediate level player. Close

Spanish Dance No. 2 Opus 12 arr. solo piano

In this arrangement for solo piano of Moszkowski’s Spanish Dance No. 2 Opus 12 (by the composer) the realisation plays back at 135 quarter note (cro Show More...

In this arrangement for solo piano of Moszkowski’s Spanish Dance No. 2 Opus 12 (by the composer) 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. 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. Close

None but the Lonely Heart arr. organ solo

Although only 54 bars long the piece has great emotional and musical range making it a challenging performance piece. The melody needs to be played on Show More...

Although only 54 bars long the piece has great emotional and musical range making it a challenging performance piece. The melody needs to be played on the swell or choir manual and the accompaniment using a quiet registration on the great. The pedal part can also be coupled to the great. In any transcription or score reduction compromises have to be made. The repeating elements do add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which the organist will need to take into consideration in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing a controlled tone in solo playing. The off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry for the original song was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Close

Spanish Dance No. 2 Opus 12 for piano duet (piano 4 hands)

A tempo of 50 dotted quarter note beats to the minute is appropriate if players wish to play the movement at one tempo. Another approach is to take th Show More...

A tempo of 50 dotted quarter note beats to the minute is appropriate if players wish to play the movement at one tempo. Another approach is to take the opening and closing section and play those slightly slower than the middle B section. Both approaches are quite valid. The movement needs to be played with a one in a bar feel. Players should endeavour to communicate the charm and intimacy of the music. 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 is 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). 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 the drawing room and composed at a time when the playing of piano duets was a very popular pastime. The triplet figuration so characteristic of Spanish music is a strong feature in this movement. 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. The mp3 accompaniment downloads from the PlentyMusic website 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 150/135/150, Accompaniment 2 plays 144/144/144, Accompaniment 3 at 138/150/138, Accompaniment 4 at 135/150/135 and Accompaniment 5 at 135/144/135 quarter note (crotchet) beats to the minute If pianists require accompaniments with different tempi then please advise the PlentyMusic office. There is a four bar count that features the sound of two pitches of a woodblock. If not using an iPad or notebook, when performing PlentyMusic scores printing two pages of music onto one side of A4 offers a practical solution for players. Moritz Moszkowski (1854 – 1925) was a German composer of Polish – Jewish descent who was an exceptional pianist and well known at the end of the 19th century as a concert pianist, conductor, composer and teacher. He was also a competent violinist. He composed many small-scale piano works of which his 5 Spanish Dances Opus 12 set are probably the best known existing in several formats. After moving to Paris in 1897 his health deteriorated from 1908 and his career quickly went into decline. From being rich and famous he soon lost all his money as a result of exchanging the copyrights on his music for government bonds which became worthless at the outbreak of the war in 1914. Close

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

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

This is J.S. Bach’s transcription of the first movement from A. Marcello’s oboe concerto. Bach was a great copier of music making it suitable for performance on the organ. Bach’s version dates from 1715. The score is marked Andante spiccato. Spiccato is a reference to a type of staccato and bowing technique on a string instrument. There is much to be learnt about the baroque concerto playing this movement and the terms frequently associated with the music all have a context. Tutti (all) ritornello (a recurring passage / theme / refrain) ripieno (whole group) concertino (solo group) episode (a musical section or passage that is not the theme). A competent performance of this movement should demonstrate that the player has a clear understanding of both the structure and texture. Remember that Bach’s keyboard transcription was originally an orchestral work. Ornaments featured in the movement are presented simply and consistently. Keyboard players will find many variants in terms of their frequency and their interpretation. Listen to recordings and copy the best of modern practice is the best advice. When learning the piece the music editor suggests omitting the ornaments. The ornaments have been written out in the piano video score available to view on our YouTube channel (the same ornaments feature in both the piano and organ sheet music scores). The organ sheet music score available from the PlentyMusic website has the symbols for the ornaments in place which understandably gives the score visual clarity. The organ realisation plays back at 72 quarter note (crotchet) beats to the minute. Clarity in the articulation of every note is the challenge in playing the music of J. S. Bach. As is the custom with the notation of baroque music there is very little score detail but understandably as the piano invites dynamic shading there is scope for interpretation and nuance in a performance. The movement ends with a Tierce de Picardy aka a Picardy third. This is essentially refers to the use of a major chord at the end of a piece in the minor key. Close

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

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

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

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

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

This is J.S. Bach’s transcription of the second movement from A. Marcello’s oboe concerto. Bach was a great copier of music often making it suitable for performance on the organ. This is a keyboard arrangement of an oboe concerto attributed to the Venetian composer A. Marcello although Bach understood it to be a work by Vivaldi. J.S.Bach’s arrangement dates from 1715. It is work that is can be performed on the piano, organ and harpsichord. Careful reading of the score is required because of the numerous accidentals and the rhythmic accuracy that is required to play this movement as notated. The eighth note chordal accompaniment is very helpful in assisting accurate positioning of the notes. Playing a slow movement in a sustained and controlled way is a challenge and requires a different intensity than playing a movement in a moderate tempo. The realisation or video plays back at a tempo of 63 eighth note (quaver) beats to the minute although a tempo range from 60 to 66 eighth (quaver) notes to the minute is appropriate for the movement. and the ornaments are written out in full so what you see in the score is exactly what you hear. The sheet music music available from the PlentyMusic website has the symbols for the ornaments in place which understandably gives the score more visual clarity. The ornament markings in the sheet music score can be cross referenced with the video score and obviously with other recordings of the work. Players may wish to review the use of ornaments in the light of their own listening and study. Ornaments need to played rhythmically with clarity and consistency. There are a number of different ornaments that feature in the score. The music editor suggests omitting the ornaments win the early stages of learning the movement. The ornamentation in the realisation reflects current performance practice. The movement ends with a Tierce de Picardy aka a Picardy third. This is essentially refers to the use of a major chord at the end of a piece in the minor key. Close

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

This is a keyboard arrangement of an oboe concerto attributed to the Venetian composer A. Marcello although Bach understood it to be a work by Vivaldi Show More...

This is a keyboard arrangement of an oboe concerto attributed to the Venetian composer A. Marcello although Bach understood it to be a work by Vivaldi. J.S.Bach’s arrangement dates from 1715.It is work that is performed on the piano, organ and harpsichord. The organ realisation of this the Third Movement: Presto plays back at 56 dotted quarter note beats to the minute and the repeat is not played. In the video score the ornaments are written out in full. Additional ornaments can be added at the performer’s discretion. The music editor suggests listening to available recordings of this work before making a judgement about possible additions that could be made.Bach’s arrangement is mostly written in two parts is an excellent piece for a pianist to consider playing on the organ.The realisation utilises an 8’ Principal from a sample set. In a performance the organist could explore an alternative registration on the repeats. Close

Bagatelle No. 7 in A Flat Opus 33

This is a concise and dramatic movement and representative of the compositional style of Beethoven around 1800 whilst the movement itself dates from 1 Show More...

This is a concise and dramatic movement and representative of the compositional style of Beethoven around 1800 whilst the movement itself dates from 1803. The score is marked Presto and the realisation plays back at 108 dotted half note (minim) beats to the minute. The music needs to be played with a sense of one in a bar. The repeats are also played in the realisation and the music editor suggests that they should be played as the piece is being studied. Much can be learnt about Beethoven’s craft as a composer from this relatively short movement. Slow very accurate playing is needed in the first instance before building up to performance tempo. It is an excellent piece to evaluate and improve piano technique. It is a type of piece that a pianist needs to return to every once and a while both to refresh and improve. Much of the movement needs to be played with a lightness in the hands. The edited sheet music score has suggested fingering in place. The sustaining pedal is used in some of the sections and the music editor suggests a change of pedal with each change of harmony. Close

Pastorale arr. two manual organ with pedals

A beautiful movement in 12/8 time from the baroque Italian composer who studied with A. Scarlatti and B. Pasquini before working as a priest in South Show More...

A beautiful movement in 12/8 time from the baroque Italian composer who studied with A. Scarlatti and B. Pasquini before working as a priest in South America. A pastorale is an instrumental composition usually in moderate tempo which suggests and evokes the life of a shepherd. Usually in 6/8 9/8 or 12/8 time they often feature a drone accompaniment reminiscent of the bagpipes, an instrument very much associated with shepherds. The use of thirds is another common feature and they are often played at Christmas. There are many examples from the repertoire including those by Corelli, Vivaldi, Handel and more recently Pietro Yon. The movement is in three sections. The first and last sections are in 12/8 and are played at 63 dotted quarter notes or crotchet beats to the minute. These two sections are 21 bar and 25 bars in length and are in similar character although the closing section is chromatic. The second section is 11 bars long and in common time and is played at 100 quarter note beats to the minute. Ornamentation is in place for the 11 bar middle section. For pianists playing the organ there is only one pedal note to play. The arrangement is for a two manual instrument and there is clear indication in the sheet music score as to which music is played on which manual. The movement can however be played quite satisfactorily on a one manual instrument. On the sheet music score Manual 1 refers to the swell and Manual 2 refers to the great. Players may prefer to substitute these terms on their music scores. In the instruments of Zipoli’s time changing the registration or choice of stops was effectively the only technique available to the organist to change the sound and volume. Modern instruments with swell pedals enabling the swell box to be opened and closed and change the volume were a much later invention. Three different registrations are suggested for playing the movement although only two are used in the realisation. Domenico Ziploi (1688-1726) was an Italian Baroque composer who lived and worked as a Jesuit priest in South America. Born in Prato, near Florence he studied with Alessandro Scarlatti and Bernardo Pasquini and in Rome produced in 1716 a collection of keyboard pieces titled Sonate d’intavolatura per organo e cimbalo. This music is still highly regarded and playable by intermediate level. Close

Country Gardens arr. improver level piano solo (melody played by left hand)

This is another improver level arrangement for piano or keyboard with the melody being played by the left hand whilst the right plays an accompaniment Show More...

This is another improver level arrangement for piano or keyboard with the melody being played by the left hand whilst the right plays an accompaniment. The intention of the arrangement is to encourage balanced in the hands with the right hand playing quietly and the left hand playing out the melody so that it is clearly heard. 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 66 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. 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. The chords are also notated above the treble clef stave using letter symbols simply to get players used to understanding how these these symbols are used particularly in the playing of folk and popular music. Close

Second Movement: Andante from Sonatina in C Opus 20 No.1

The second movement Andante from Kuhlau’s Sonatina in C is an intermediate level piano solo and an excellent piece to play for those seeking to deve Show More...

The second movement Andante from Kuhlau’s Sonatina in C is an intermediate level piano solo and an excellent piece to play for those seeking to develop their legato playing in the context of a slow movement. Playing a slow movement does require emotional range and they are often more difficult to play than musicians imagine when compared to say a minuet and trio and a moderate tempo. This slow movement needs to be played with a clear awareness of the 6/8 timing which needs to be communicated in the playing. The rhythmic detail requires particular attention whilst the melody clearly needs to sing out over the accompaniment. The repeats are played in the realisation. The use of the piano sustaining pedal is recommended and has been notated in just the first line of the sheet music score although its use is required for the whole movement. The convention when playing a repeated note in classical music is often to change the finger used and keyboard players may wish to develop this technique in this movement. A plain score is appended to the edited sheet music score enabling players to edit in their own choice of fingering and pedal markings. Close

Country Gardens arranged improver level piano

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

Frankie and Johnnie arr. improver level piano

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

Arrival of the Queen of Sheba arr. piano and organ

The “Arrival of the Queen of Sheba” is a very popular piece and is often used as a wedding processional. This shortened version has just 36 bars a Show More...

The “Arrival of the Queen of Sheba” is a very popular piece and is often used as a wedding processional. This shortened version has just 36 bars and lasts for just over a minute which is often long enough for the purposes of most weddings. The sounding key of the organ arrangement is G major whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the minute. Three registrations are suggested and used in the realisation and are suggested for a performance. There is also a piano score attached to the organ score as the music can be quite satisfactorily played on the manuals. Playing the full version is quite a challenge because of the key changes which make closing off the music in the context of a wedding rather unpredictable and often not easy. The sinfonia was originally scored for two oboes and strings and comes from Act III of Handel’s oratorio “Solomon.” The title the was given to the Sinfonia by Sir Thomas Beecham possibly in the 1930’s. Close

II. Largo from Organ Sonata in D minor

The Largo from the Organ Sonata in D minor is a binary form movement in 12/8. The realisation plays back at 42 dotted quarter note beats to the minute Show More...

The Largo from the Organ Sonata in D minor is a binary form movement in 12/8. The realisation plays back at 42 dotted quarter note beats to the minute whilst the trills sound on the playing of the repeats. The sheet music comes with both a piano and organ score. This is a very good movement to transition piano players into playing the organ with two manuals and pedals. The music editor suggests playing through the music without ornamentation in the first instance then adding the trills on the repeat. The advice on the use or ornaments is that appropriateness and consistency should be the abiding criteria in a performance. Ornamentation is a complex issue particularly at this time in music history. Apart from the consideration of Italian style there is also the fact that Galuppi is one of those composers who links one musical age and with another in what was a time of much change in performance practice. He composed a great number of works for keyboard instruments and was highly regarded as a performer. He also composed operas and sacred music. Galuppi’s music is not particularly well represented by publishers and one of the reasons for this is because of Napoleon’s invasion of Venice in 1797. As a consequence of this many of the composer’s manuscripts were lost. Baldassare Galuppi (1706 – 1785) was born on the Venetian island of Burano and whilst he worked in Vienna, London and St. Petersburg he was mostly based in Venice where he held a number of important musical positions. He is one of an important group of composers that link the baroque with the classical age and is identified particularly with the style galant movement. Close

I. Allegro from Organ Sonata in D minor

The First Movement from Baldassare Galuppi’s Organ Sonata in D minor is in AB binary form. For those who wish to have more information on how the or Show More...

The First Movement from Baldassare Galuppi’s Organ Sonata in D minor is in AB binary form. For those who wish to have more information on how the ornaments are played then the music editor suggests referring to the video sheet music score on YouTube where the ornaments are written out in full. As an organ piece the movement can be effectively played on a one manual instrument with possibly a choice of 8’ stops. This is music composed in the transition period between the baroque and classical periods. The A section is just 10 bars long and essentially comprises has two contrasting musical ideas or strains a and b with each strain being 5 bars long. The section closes in the dominant key of A minor. The B section is 20 bars long and opens with the same shape and strain as the first section but in A minor. Some new material is introduced at bar 16 and then after a few passing modulations the movement returns to the home key and opening strain of Section A at bar 23. Baldassare Galuppi (1706 – 1785) was born on the Venetian island of Burano and whilst he worked in Vienna, London and St. Petersburg he was mostly based in Venice where he held a number of important musical positions. He is one of an important group of composers that link the baroque with the classical age and is identified particularly with the style galant movement. Close

III. Allegro e spiritoso from Organ Sonata in D minor

The uplifting third movement from Baldassare Galuppi's Organ Sonata in D minor has strong rhythmic shapes and harmonic sequences. The video score play Show More...

The uplifting third movement from Baldassare Galuppi's Organ Sonata in D minor has strong rhythmic shapes and harmonic sequences. The video score plays back at 60 dotted quarter note (crotchet) beats to the minute. A lightness in the registration is appropriate whilst the movement can be played the without repeats. There is a lovely exploration of space in this music with the rhythmic shapes being a strong feature of the musical content. Galuppi is one of an important group of composers that link the baroque with the classical age and is identified particularly with the “galant style” movement. Galuppi’s music is not particularly well represented by publishers and one of the reasons for this is because of Napoleon’s invasion of Venice in 1797. As a consequence of this many of the composers’ manuscripts misplaced and lost. Close

Adagio from Sonata in A minor Wq 70/4, H 85

Carl Philip Emanuel Bach 1714 - 1788 is an important figure in music history and a composer that links the baroque with the classical era. He was an i Show More...

Carl Philip Emanuel Bach 1714 - 1788 is an important figure in music history and a composer that links the baroque with the classical era. He was an important influence on F.J.Haydn and L. van Beethoven who both held J. S. Bach’s composing son in high regard. This particular period in music history is a fascinating one and C.P.E Bach’s music is deserving of more attention both from the performance point of view and the need for well researched modern editions of his most popular music. This particular movement is in the “empfindsamer Stil” or sensitive style that is a feature in much of C.P.E.Bach’s music and other north German composers of the mid 18th century. It is approach that focuses on the expression of emotion in an intimate musical style that could be described as being declamatory or one that utilises both drama and dialogue. Whilst a movement with appeal there will be quite a challenge getting the piece to a performance standard. A realisation score with the ornaments all written out is appended to the sheet music score so that keyboard players can make a thorough study of the ornamentation of this work. This is an often complex and contradictory area but understandable because this composition comes from a time of great change in music. Keyboard players should have a sense of an eighth note quaver beat whilst the video score plays back at a tempo of 58 quaver beats to the minute. C.P.E. Bach’s favourite keyboard instrument was the in fact the clavichord and he was not really known to be an organ virtuoso like his father. He composed relatively little for the organ but did write some sonatas music for the sister of Frederick II, the Great, Princess Anna Amalia of Prussia. This movement which is part of a three movement sonata was composed sometime around 1755. C.P.E. Bach was known as the “Berlin Bach” whilst he worked in Berlin and then the “Hamburg Bach” when he moved there to replace his godfather Telemann as Kapellmeister. This distinguished him from his brother J.C. Bach who was known as the “London Bach”. Close

It Was A Lovely Holiday

It is intended to introduce keyboard players to “swing” playing. This slow blues has a simple two part texture. Whilst swing music has a triplet f Show More...

It is intended to introduce keyboard players to “swing” playing. This slow blues has a simple two part texture. Whilst swing music has a triplet feel to it players need to appreciate that the conventions involved in the notation of the rhythm of swing style can vary and be confusing. Listen to the playback score and understand the conventions involved in the writing of swing music by studying the score notated in common time and the appended score in 12/8. Appreciate that swing music can be notated in more than one way. The notation convention in the edited music score with suggested fingering is how this music would normally be presented to the music reading musician. The form of the 32 piece can be represented by the letters A A B A with each section being 8 bars long. Keyboard players should be aiming for fluidity in their playing. The realisation plays back at 110 dotted quarter (crotchet) beats to the minute. As a warm up to playing the piece the music editor suggests playing through through the following blues upwards and downwards slowly simply to become familiar with the sound of each scale. Eb major Eb F G Ab Bb C D Eb Eb blues Eb Gb Ab Bbb Bb Db Eb Eb minor Eb F Gb Ab Bb Cb D natural Eb Instrument players interested in this style of music will need to become familiar with terms like blue note and blues turnaround and spend time listening to blues style piano players particular from the New Orleans area. Close

Für Elise | solo piano | full version

A very familiar piano piece known as “Für Elise” and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo form. In Show More...

A very familiar piano piece known as “Für Elise” and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo form. Interestingly it is a piece that was not published until 40 years after the composer’s death. As a popular piece with some sections invitingly straightforward and others more challenging to play it is a movement that is frequently played badly. Counting and communicating the beats to the bar particularly in the tricky octave sections is essential if the timing is to be accurate. The realisation is lacking in tonal contrast. The movement needs to be played with a lightness in the hands which means that it shouldn’t be played too loudly. The performer needs to aim to communicate the simplicity of the music which actually is quite a rare quality in Beethoven’s music. The realisation is a little bit stiff and lacks fluidity especially in the statement and of the opening motif/shape and its many repetitions. The player has the opportunity to linger a little more than is demonstrated in the playback whilst always suggesting a one beat to the bar feel in the music. The music editor suggests the use the sustaining pedal and its use is indicated in the first section of the sheet music score. The bass line from bar 81 is an opportunity for pianists to use different fingers on the repeating notes and the music editor suggests the players write in their own fingering choices. For those wanting clarity on how to play the turn in bar 51 the music editor suggests looking at the video score on our YouTube channel. Click the link on the home page of the website. The music editor has not made use of repeat signs which is an option that could have been used in the first part of the movement Beethoven expanded the musical forms of the classical period. He also is an important link between the classical and the subsequent romantic age. As a composer he was especially interested in process and the exploration of musical ideas. Für Elise is also a romantic work in the sense that it invites a strong emotional response from both players and listeners. Close

Rondo | Third Movement | Sonatina in C Opus 20 No. 1

The third movement from Kuhlau’s Sonatina in C is an intermediate level piano solo and an excellent piece to play for those seeking to acquire the p Show More...

The third movement from Kuhlau’s Sonatina in C is an intermediate level piano solo and an excellent piece to play for those seeking to acquire the piano technique needed to play classical music competently. This is a typical last movement of a sonatina or sonata in that it is light in mood and in rondo form. A rondo is a movement with a recurring theme and the structure can be represented by the letters ABACAB + a closing section or coda. For those who persevere in managing to play the movement competently there are many pieces waiting to be played from the classical repertoire. The realisation plays back at a tempo of 120 quarter note (crotchet) beats to the minute. Playing at this tempo does require lightness in the hands. This is perfect music for the piano with both themes and accompaniment perfectly suited to being articulated on the piano. The sustain pedal is may be used but its use is not indicated in the sheet music score. Friedrich Kuhlau (1786 – 1832) was a Danish composer and pianist of the late Classical and early Romantic time who along with a group of composers that includes Muzio Clementi (1752 -1832), Jan L. Dussek (1760 – 1812) and others composed piano music that is has become essential repertoire for the growing pianist. Close

Duet No.3 BWV 804 (organ)

Duet No.3 BWV 804 in G major is an appealing work with a light, dance like character. It is an intermediate level performance piece reminiscent of the Show More...

Duet No.3 BWV 804 in G major is an appealing work with a light, dance like character. It is an intermediate level performance piece reminiscent of the composers Two Part Inventions. The Duet does present a number of score reading challenges for the player even though the music is conceived in two parts. The 4 Duets are part of Clavier-Übung III or the German Organ Mass and composed really at the zenith of the composer’s contrapuntal writing. The edited music score has suggested fingering which may serve as a useful guide to how the movement is studied in the first instance. The music editors concept is that once familiarised with the movement that players will make use of the plain score perhaps substituting their own choice of fingering where they feel it is appropriate. The time signature is in 12/8 and the piano realisation plays back at a tempo of 60 dotted quarter note beats to the minute. There are many fine performances of this movement on several different types of keyboard instrument that are worth exploring. Close

The One Ten Blues Piano Solo

The One Ten Blues is an improver level piano solo exploring the blues idiom at a medium tempo Formally it can be represented by the letters A B A with Show More...

The One Ten Blues is an improver level piano solo exploring the blues idiom at a medium tempo Formally it can be represented by the letters A B A with A having a standard 12 bar blues structure and B being a middle 8 bar section. A percussive approach to playing the keyboard is appropriate for this piece and the rhythm needs to be played in a straight manner. The realisation plays back at 110 dotted quarter (crotchet) beats to the minute. As a warm up to playing the piece the music editor suggests playing through through the following three blues scales upwards and downwards slowly simply to become familiar with the sound of the scale. C Eb F Gb G Bb C F Ab Bb B (natural) C Eb F G Bb C Db D F G For those wishing to connect blues music with rock and roll and rhythm and blues spend time listening to recordings by Louis Prima, Big Joe Turner, Louis Jordan, Fats Domino and others. Close

The Wild Horseman from Album for the Young Opus 68

The Wild Horseman is an improver level piano solo and an ideal piece to encourage fast playing. In ternary form ABA the music comes from the collectio Show More...

The Wild Horseman is an improver level piano solo and an ideal piece to encourage fast playing. In ternary form ABA the music comes from the collection that Schumann composed in 1848 for his three daughters. It is in A minor and is an excellent piece for developing arpeggio playing. It should be played at a fast tempo whilst the realization plays back at 110 dotted quarter note beats to the minute. The Album for the Young is one of the great collections of piano literature for the young player. Close

Canzona No.5

Froberger’s Canzona No.5 is a work performed on both the organ and harpsichord. It is composed in three section ABC each being independent of the ot Show More...

Froberger’s Canzona No.5 is a work performed on both the organ and harpsichord. It is composed in three section ABC each being independent of the other. The music is conceived in 4 lines and imitation is a featured compositional process. The realization plays back at 88 quarter note (crotchet) beats to the minute in the A section, 76 dotted quarter note (crotchet) beats to the minute in the B section and 80 quarter note (crotchet) beats to the minute in the final C section. When playing through the movement some thought does need to be given to the sharing of the lines between the two hands. There are moments in the score when there is tonal/modal ambiguity in the score. False relation is in evidence in the writing. This movement is evidence that the tonal system was not fully established and in place. The thematic ideas in all three sections are of a lively and uplifting character. The tempo is much slower at the cadence points at the end of the three section. Cadence points also offer an opportunity for ornamentation that needs to be appropriate style. The music is conceived in 4 parts and where a part is not being sounded rests also indicated in the score. When played on a two manual organ the A+C section can be played on one manual and the B section on another. 8 ft stops would be an appropriate choice for the registration. Johann Jacob Froberger (1616 – 1667) was a German baroque composer, harpsichordist and organist particularly remembered for creating and developing the keyboard suite. The composer generally would not allow his music to be published so only his patrons and friends were familiar with his music. As recently as 2006 an autographed manuscript of his music was discovered. He was a pupil of Frescobaldi and spent time living and working in Vienna. Close

Second Movement Vivace from Piano Sonatina in C major Opus 55 No.1

This is a short concentrated movement having a lightness of mood often associated with final movements of musical works in the classical period. The m Show More...

This is a short concentrated movement having a lightness of mood often associated with final movements of musical works in the classical period. The melodic material is both appealing and chromatic scale passages can be described as transition preparing the way for a return to the opening theme. The final 12 bars can be described as a coda or closing section. The realization plays back at a tempo of 80 dotted quarter notes beats (dotted crotchet) to the minute. A lightness in the hands is essential to play this music at tempo. As an adult player revisiting a student piece it becomes much clearer what two techniques need to be practiced in order to become a competent keyboard player. Firstly, thumb under technique and fourth finger over technique (encouraged by practice of scales). Secondly, changing the finger on a repeating note encourages a lightness in the hands when playing music at this tempo. There is an edited sheet music score available which has suggested fingering available as a free score from the PlentyMusic website. A plain sheet music score is also appended. This particular movement is also excellent for exploring the full range of the piano. Friedrich Kuhlau (1786 – 1832) was a Danish composer and pianist of the late Classical and early Romantic time who along with a group of composers that includes Muzio Clementi (1752 -1832), Jan L. Dussek (1760 – 1812) and others produced piano music that is has become valued repertoire for the developing pianist and much of it has been used for teaching purposes. Close

First Movement | Piano Sonatina in C Opus 20 No.1

A quite charming and beautiful movement perfect for developing and combining legato playing with a sound piano playing technique. The repeat is not pl Show More...

A quite charming and beautiful movement perfect for developing and combining legato playing with a sound piano playing technique. The repeat is not played in the realization. The music editor has been quite minimalist as far as score detail is concerned simply because too many edited copies of this sonatina have score detail that is irrelevant when playing on a modern piano or keyboard. There is an edited sheet music score available which has suggested fingering on the website. This also has a plain sheet music score attached. The principle of contrast so essential to the classical composition is evident in this movement. Friedrich Kuhlau (1786 – 1832) was a Danish composer and pianist of the late Classical and early Romantic time who along with a group of composers that includes Muzio Clementi (1752 -1832), Jan L. Dussek (1760 – 1812) and others produced piano music that is has become essential repertoire for the developing pianist. Close

Le jardin de Dolly (from the Dolly Suite Opus 56) arr. piano duet (piano 4 hands)

Le jardin de Dolly is the third movement of the Dolly Suite Opus 56 and was originally published as a piano duet. The realization score plays back at Show More...

Le jardin de Dolly is the third movement of the Dolly Suite Opus 56 and was originally published as a piano duet. The realization score plays back at a tempo of 72 quarter note (crotchet) beats to the minute. When performing the music there is an opportunity to slow down at the ends of phrases and then return to a tempo at the start of the next phrase and this approach is featured in both the realisation and the accompaniments. Gabriel Fauré’s Le jardin de Dolly is a lovely piano duet to play. Once you notice the detail of the scoring then you begin to appreciate the beauty of the writing and scoring. Use of the sustaining pedal to communicate the range of the harmonic colour is recommended and but not indicated in the sheet music score. The movement technically is not difficult to play but it does require careful reading and understanding of the contexts of the parts particularly when the melody moves to one of the inner parts. Too many duettists play this music too quickly which makes it rather abrupt as such and some of the reflective quality is lost. There are many recordings from both recent times and the recording archive which are worth exploring. The music editor was particularly impressed with the recording by Beatrice and Walter Klein who play the movement in an almost hushed secretive manner. The modal element that features in so much of Fauré’s music stems back to the fact that the composer like many French musicians was trained in the traditions of church music which referenced the old scales used particularly in the singing of plainchant. The two piano parts Primo and Secondo can be downloaded separately as “accompaniments” enabling players to enjoy an ensemble music experience playing either the Primo or Secondo part The Primo part sounds on the right channel of the stereo signal and the Secondo part sounds on the left channel. Accompaniment 1 plays at 76 quarter note beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 69 quarter note beats (crotchet) to the minute. There is a 4 bar click beat before the music starts playing to give a clear pulse to players. When performing printing two pages of music on to one side of A4 offers a practical solution for players Close

Fugue in G BuxWV 175 piano/organ

The three part Fugue in G BuxWV 175 originates as an organ work but readily transcribes as music that can be played on the piano. It is a movement fea Show More...

The three part Fugue in G BuxWV 175 originates as an organ work but readily transcribes as music that can be played on the piano. It is a movement featuring much imitation in the three lines of music. It is also divided into three sections and is more canzona than fugue. The music needs to be played very evenly with a lightness of touch. Entries of the subject in the voices need to be stated clearly. The challenge in playing music in this style is creating space and communicating the intentions and formal shape of the music. The playback tempo in the realisation is 72 quarter note beats to the minute but the movement can be played at a quicker tempo if preferred. There is minimal score detail in the sheet music score as is the convention with music from this era. The music editor also suggests listening to some of the organ versions that exist readily accessible on streaming media. Buxtehude 1637 – 1707 was an important compose of the mid-baroque period and an important influence on J. S. Bach, G.F. Handel and G. P. Telemann. Whilst described as a German composer he considered to be Danish himself though the place he was born is now in Sweden! His place of work from 1668 was St. Mary’s Church, (Marienkirche) Lübeck and apart from his vocal music composed for church contexts there is a substantial amount of music for organ including preludes, toccatas and fugues, chorale settings and pieces based on repeating bass lines or ostinatos. It is worth exploring music originally intended for the organ and harpsichord performance on the piano. Alan Feinberg’s CD “Fugal State” and Francesco Tristano “Long Walk” are two contemporary collections that include the keyboard music of Buxtehude played on the piano. Close

Variations on “Ich denke dein” WoO 74 for piano duet (piano 4 hands)

The 6 Variations with Coda “Ich denke dein” for piano duet (piano 4 hands) were composed in 1803 and published in 1805. A quite delightful set of Show More...

The 6 Variations with Coda “Ich denke dein” for piano duet (piano 4 hands) were composed in 1803 and published in 1805. A quite delightful set of variations based on a song melody with a text that roughly translates as “I think of you when the sun shimmers on the sea” which suggests that the composer belongs more to the romantic than the classical era. sf means suddenly loud and is one of Beethoven’s most used score markings as is not unsurprisingly fp meaning loud going to soft. In Beethoven’s music the surprise element is always strong particularly in respect to dynamics and rhythmic accents which are often placed on the weaker beats of the bar. Time signatures appear at the beginning of the theme and also the beginning of each variation. All movements apart from Variations 3 and 5 are in common time. Tempos in Variation 3 and 5 are more relaxed and slower with the music notated in 2/2 time. As his sketch books show, Beethoven was particular fond of re-working and revising his composition ideas but there is always purpose and a clear sense of direction in his music. Use of the sustaining pedal is recommended but has not been indicated in the score. The lines of music are rhythmically independent which makes playing the trills in Variation 4 challenging. Beethoven is always interested in developing piano technique and there is evidence of this particularly in Variation 4. This particular variation took the music editor as much time to prepare as the rest of the work put together! The music editor suggests omitting the ornaments particularly in this variation in the first instance. Any pianists/keyboard players not sure of how the ornaments should be played should refer to the video score on the YouTube channel to see a suggested solution. In the video score the ornaments written out in full and it sounds exactly as the realisation available as the mp3 from the website. The playing of ornaments is much more interesting and challenging in Beethoven’s time. The Primo and Secondo can be downloaded separately as “accompaniments” enabling players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on one channel of the stereo signal and the Secondo part sounds on the other. The tempos are as follows in quarter note beats to the bar with the second figure indicating the half note or minim beat tempos for variations 3 and 5. There are three accompaniments: Accompaniment 112/50 Accompaniment 2 108/48 Accompaniment 3 104/46. There is a four bar count in /click on the accompaniment mp3. When performing printing two pages of music on to one side of A4 offers a practical solution for players. Close

Manchega arr. intermediate level piano

Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and g Show More...

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. He was often referred to as the greatest pianist from the “New World” whilst 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. Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate piano technique and in the context of the original arrangement was intended to demonstrate his virtuoso playing. This is an intermediate level arrangement with the playback tempo of the realisation being 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 Eb and the B section in Gb. 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 in and shared between the hands are secure. The use of the sustaining pedal is recommended but is not indicated in the score. In bar 34 players are required to play both a Cb and a C natural. Gottschalk’s piano writing more than suggests the influence of Chopin. As the repetitive element in the movement is strong there is an opportunity to explore articulation, 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. Close

Bolero from 5 Spanish Dances for piano duet (piano 4 hands)

Moritz Moszkowski (1854 – 1925) was a German composer of Polish – Jewish descent who was an exceptional pianist and well known at the end of the 1 Show More...

Moritz Moszkowski (1854 – 1925) was a German composer of Polish – Jewish descent who was an exceptional pianist and well known at the end of the 19th century as a concert pianist, conductor, composer and teacher. He was also a competent violinist. He composed many small-scale piano works of which his 5 Spanish Dances Opus 12 set are probably the best known existing in several formats. After moving to Paris in 1897 his health deteriorated from 1908 and his career quickly went into decline. From being rich and famous he soon lost all his money as a result of exchanging the copyrights on his music for government bonds which became worthless at the outbreak of the war in 1914. The Spanish sound is referenced by use of the phrygian mode which has the semi-tones between the first and second and the fifth and sixth degree of the scale - D Eb F G A Bb C D. The rhythmic shapes are from patterns associated with the Bolero which originated in Spain during the C18th as a form of ballroom dance and became a template and form used by many composers of art music. Music associated with particular countries and regions of Europe particular on its fringes became very popular towards the end of the 19th century in a movement that was known as nationalism. Moszkowski was a very well known composer artist in his own time but after his death like many composers his music disappeared from concert programmes. Score detail is in place for the whole movement simply for clarity. The suggested tempo to play this movement advised by the music editor is 104 quarter note (crotchet) beats to the minute but a realistic and equally satisfactory tempo is 96 quarter note (crotchet) beats to the minute. There are two options as to how to play the trills . Either as in the video score which can be viewed on our YouTube channel or by playing semi quavers. One of the characteristics of a Bolero is that it they speed up at the end and this feature has been retained in the realizations and accompaniments. This Bolero is a great ensemble piece offering plenty of contrast and pianistic in the sense that it quite playable. 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 104 quarter note beats (crotchet) to the minute, Accompaniment 2 at 100 quarter note (crotchet) beats to the minute and Accompaniment 3 at 96 quarter note beats (crotchet) to the minute. There is a four bar count in that features the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. One of the characteristics of a Bolero is that it they speed up at the end and this feature has been retained in the realizations and accompaniments. This Bolero is a great ensemble piece offering plenty of contrast and pianistic in the sense that it quite playable. For those who want to explore the music of Moszkowski Étincelles (Sparks) from the Opus 72 set of Études is quite a movement often played as an encore at the end of a concert. Close

Study in Canon No.1 Opus 56 arr. piano duet (piano 4 hands)

A movement with beauty, shape and a sense of space. The imitation principle is understandably very strong in this work composed, the music editor unde Show More...

A movement with beauty, shape and a sense of space. The imitation principle is understandably very strong in this work composed, the music editor understands, when Schumann was intent on restoring rigour and confidence to his own compositional process. For the players there is surprisingly intensity and discipline needed to play this relatively short movement. Whilst this music references the past there is a romantic twist or two in the harmonic language. A tempo of 84 quarter note (crotchet) beats to the minute is used in the realisation. Trills begin on the note and have been written out in the first section of the score in the ossia staves. Understand that the melodic and rhythmic shapes of the ornaments are constant throughout the whole movement. The French word for study is Etude and those who develop or have developed a keen interest in music will be very aware of the many musical challenges associated with this word! Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently arranged for piano duet / piano four hands by Georges Bizet. There are also other versions for organ, two pianos and string quartet. 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 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 76 quarter note (crotchet) beats to the minute and Accompaniment 3 at 72 quarter note beats (crotchet) to the minute and Accompaniment 4 at 68 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

Berceuse (Dolly Suite) arr. piano duet (piano 4 hands)

A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A be Show More...

A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 69 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure’s music is also evident. 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 76 quarter note beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 68 quarter note beats (crotchet) to the minute. There is a four 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

Children’s March in G for Piano Duet D.928 (Piano 4 Hands)

The Children’s March is an intermediate level piano duet. The repeats are played in the realization and the formal pattern can be summarized as foll Show More...

The Children’s March is an intermediate level piano duet. The repeats are played in the realization and the formal pattern can be summarized as follows. March: A A B B Trio: A A B B March Da Capo (No repeats) AB. This is a template that appears in much classical and romantic music. As is the convention the repeats are not played in the Da Capo repeat of the March. There is a great range of tempo explored in the many performances available of this march. The realization playback at 96 quarter (crotchet) note beats to the minute. This is a characterful and appealing piece with enough contrast and charm to make it an interesting performance piece for both performers and audiences. No sustaining pedal is indicated in the sheet music score although its (minimal) use is suggested. Musical ideas are shared between the parts and players need to be sensitive with regard to the dynamics that they use. Many of Schubert’s greatest works are composed for piano duet and he made a substantial contribution to the repertoire. The composing context often related to his circle of friends for whom he would often write music. Whilst the Children’s March is a short work there are some substantial and large scale works also waiting to be explored. In the Trio section the triplets require a lightness in of touch in the way they are played. It is also important to understand that the Primo and Secondo parts are rhythmically independent. The accompaniment downloads that are 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 96 quarter note beats (crotchet) to the minute, Accompaniment 2 at 90 quarter note (crotchet) beats to the minute and Accompaniment 3 at 84 quarter note beats (crotchet) to the minute. If players are using a metronome in their preparation then it might be sensible to play to a half note or minim beat. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

March No. 1 of Three Marches Opus 45 for piano duet (piano 4 hands)

The Three Marches Opus 45 for piano duet (piano 4 hands) were composed in 1803 and published in 1804. The march form features strongly in 19th century Show More...

The Three Marches Opus 45 for piano duet (piano 4 hands) were composed in 1803 and published in 1804. The march form features strongly in 19th century music. In March No.1 the composer does not quite follow convention in the formal arrangement and symmetry of the typical March and Trio. March No. 1 can be represented as follows - March A B B Trio A A B March Da Capo (no repeats) A B. The realisation and music scores are presented as the movement is performed so repeats where indicated are played. The score detail in Beethoven’s music is always interesting particularly regarding dynamics. Accents for example, are often placed on the weaker beats of the bar and the surprise element in a score is always strong. The playback score plays back at a standard march tempo of 60 half note beats to the minute. The Trio is played at the same tempo as the March. Beethoven is particularly fond of adding closing sections often referred to as codas and there is a lovely example from bars 36 to 40. This is an excellent movement for understanding Beethoven’s approach to composition in his so called “middle” period. While many of the musical elements are straightforward the composer’s desire to expand and develop form, harmony and process are constantly evident. In addition, Beethoven’s music always has a strong rhythmic focus. All the way through the movement musical ideas are shared and developed creating what is a great ensemble piece. The ornaments in the music of Beethoven and his contemporaries also offer more challenges than those of the classical era. There are considerations as far starting notes and the number of notes played in trills - trills at important cadences can add to the dynamic and intensity of a performance. You might notice that the video score has a 6 note trill played at the end of the March although in the realization it is played as a four note shape. The Primo and Secondo parts can be downloaded as “accompaniments” enabling players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the right channel of the stereo signal and the Secondo part sounds on the left channel. The tempos are as follows in quarter note beats to the minute. Accompaniment 1 126 Accompaniment 2 120 Accompaniment 3 112. There is a four bar count in /click on the accompaniment mp3. When performing printing two pages of music on to one side of A4 offers a practical solution for players. It is a good idea for players to use a metronome in their preparation. Close

Third Movement Molto presto from Keyboard Sonata for piano duet in B Flat K.358

The Molto presto third movement of the Sonata for piano duet in B flat K.358 is a positive, joyous and like much of the composer’s music uplifting. Show More...

The Molto presto third movement of the Sonata for piano duet in B flat K.358 is a positive, joyous and like much of the composer’s music uplifting. The realisation plays back at a tempo of 108 half note (minim) beats to the minute. The first repeat is played in the realisation whilst the second repeat indicated in the sheet music score is not played. Multi-rests have not been used in the sheet music score but there are numbers in place indicating the empty bars in the sheet music score. This is a movement that does need to be played quickly and some of the tempi available on recordings are actually very challenging to play. The best advice is to start at a manageable tempo and then gradually increase it. The tempo of the movement as it is being played does however always need to be consistent. The music editor suggests setting a metronome to a half note (minim) beat minim beat in practice routines. There is opportunity for developing the “changing finger on a repeating note” technique and the playing of trills played by two hands requires careful practice. In the early stages of learning the movement the music editor suggests omitting the trills. For those wanting to see how the trills are played they can refer to the video score on our YouTube channel by clicking the appropriate link on the homepage of the website. The movement has many melodic shapes, textures and compositional processes characteristic of the composer and the music editor suggests that much can be learnt about the composer’s musical style by playing and listening to the piano duets. Mozart’s music always has a great sense of ensemble and his musical language is always consistent across the many musical forms that he embraced. 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 108 quarter note beats (crotchet) to the minute, Accompaniment 2 at 104 quarter note beats (crotchet) to the minute and Accompaniment 3 at 104 quarter note beats (crotchet) to the minute 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

First Movement Allegro from Sonata for Piano Duet in B Flat K.358

The First Movement from the Sonata for Piano Duet in Bb K.358 for piano 4 hands is an intermediate level piano duet. The realization plays back at a t Show More...

The First Movement from the Sonata for Piano Duet in Bb K.358 for piano 4 hands is an intermediate level piano duet. The realization plays back at a tempo of 144 quarter note (crotchet) beats to the minute. Mozart composed many piano duets which he would often perform with his elder sister Nannerl. A lightness of touch is required in a performance and all notes need to be clearly articulated. There is some lovely sharing of the melodic ideas in the ensemble. Playing Mozart requires a consistent and even approach and the avoidance of exaggerated playing. As far as the ornaments are concerned players should be imitating each other in their delivery. Trills played by both hands together do require careful practice The music editors view on the playing of ornaments is that they should be played simply, rhythmically and consistently. This is music that is very much about melody and accompaniment and it is important for players to communicate its charm and beauty. The first repeat is played in the realization and the second repeat marked in the sheet music score is typically omitted in a performance. There are not many crescendo markings evident in many of the piano duet scores available simply because much of Mozart’s keyboard music was written with the harpsichord in mind. The harpsichord is able to offer a contrasting range of dynamics but not a gradual increase (crescendo) or decrease in sound (diminuendo).The piano or more accurately the fortepiano invented by Christofori was work in progress during Mozart’s lifetime but essentially early pianos were much thinner toned instruments compared to the iron framed pianos familiar to modern ears. The fp indication loud going to soft is one more typically associated with both the instruments and piano music of Beethoven. 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 144 quarter note beats (crotchet) to the minute, Accompaniment 2 at 132 quarter note beats (crotchet) to the minute and Accompaniment 3 at 120 quarter note beats (crotchet) to the minute 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

Second Movement Adagio from the Sonata for Piano Duet in B Flat K.358

The Second Movement: Adagio from W.A. Mozart’s Sonata for Piano duet in Bb K.358 is an intermediate level piano duet. The Sonata, composed in the pe Show More...

The Second Movement: Adagio from W.A. Mozart’s Sonata for Piano duet in Bb K.358 is an intermediate level piano duet. The Sonata, composed in the period 1773-74 in Salzburg was most probably intended to played by Mozart and his older sister, Nannerl. The realisation score plays back at a tempo of 58 quarter note (crotchet) beats to the minute. The first repeat is usually played in a performance whilst the second indicated in the sheet music score is usually omitted. Pianists and keyboard players do need to approach the work with a lightness of touch in their hands. When playing the movement as part of an ensemble one of the performing challenges is to maintain clarity in the texture and to communicate the melodic ideas and how these are shared between the players. Whilst not indicated in the score minimal use of the sustaining pedal is suggested. The octave playing in the Secondo part needs careful practice and occasional use of the fourth finger is also suggested for this particular passage. The trills particularly in the Primo part when they are played by both hands also require attention. No repeats are played in the realisation. The challenge when playing Mozart is actually to make it sound like Mozart with a lightness of touch and beauty of sound. 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 58 quarter note beats (crotchet) to the minute, Accompaniment 2 at 56 quarter note beats (crotchet) to the minute and Accompaniment 3 at 54 quarter note beats (crotchet) to the minute There is a two 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

Over the Waves arr. piano solo (Melody + Chords)

Juventino 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 an Show More...

Juventino 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 familiar of all 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 is a melody accompanied by vamped chords The realisation plays back at 60 dotted half note (minim) beats to the minute and keyboard players need to communicate a one to the bar feel in their playing. The movement is in ternary form Close

Over the Waves arr. piano solo (Two Part)

Juventino 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 an Show More...

Juventino 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 player) movement is a two part version. 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. The movement is in ternary form. Close

None but the Lonely Heart arr. solo piano

Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. For the pianist the challenge is to co Show More...

Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. For the pianist the challenge is to communicate the melody of the song with as much of the intended accompaniment as possible. In the transcription there has been some necessary editing of the chords and the technique of crossing hands will need to be explored by the keyboard player to ensure legato playing of the melody. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which the pianist will need to take into consideration during a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. Pianists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Songs are understandably often arranged in different keys and two versions are available in the pdf download the first in Eb and the second in D. Close

Keyboard Sonata in D R.84

This is a stunning piece and often played as an encore. There are many fine performances of this work some of them taken at speeds that could be descr Show More...

This is a stunning piece and often played as an encore. There are many fine performances of this work some of them taken at speeds that could be described as frightening. For the sake of clarity in communication the sheet music score is the same as the realisation or playback score. A plain score is also appended to the edited music score. This work needs to be played with the fingers close to the keys control and a light touch as many notes are played staccatissimo and the changing fingers on a note technique will need to be used. Where appropriate look for opportunities to use sequential fingering. The cadences can and should be played with more fluidity than is demonstrated in the realisation particularly if additional ornaments are added in the repeats. A tempo of 76 dotted quarter notes to the minute is used in the realisation and the work should be played with a one in the bar feel. If you can manage a tempo of 80 dotted quarter notes to the minute then music does really come alive The advice on playing the ornaments is to be consistent, maintain rhythmic symmetry and explore options in the repeat sections. The music editor has yet to find two performers who have the same or at least a similar approach to the playing of the ornaments and suggests that players should listen to various performances of the work. Padre Antonio Soler was a Spanish Catalan composer whose work belongs to the late Baroque and early Classical times. His best known works are his one movement sonatas which show the influenced by Domenico Scarlatti. Soler also took Holy Orders in his early 20’s and working at the monastery known as EL Escorial near to Madrid in Spain combining his duties as a monk with composition and teaching. His music was catalogued by Rubio early in the 20th century. This music is played on the harpsichord and piano whilst there are arrangements of this sonata for the harp and classical guitar. Close

Prelude in G BWV 902

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

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

Piccolo Valzer

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

Elite Syncopations arr. intermediate level piano

Elite Syncopations is one of Scott Joplin best ragtime compositions. If you are not sure how to approach the playing of Joplin’s music listen to th Show More...

Elite Syncopations is one of Scott Joplin best ragtime compositions. If you are not sure how to approach the playing of Joplin’s music listen to the composers own whose remastered piano rolls which are an excellent source of clarifying 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 intermediate level piano which also has suggested fingering in place. The music sounds key in the original key of C. Close

Odeon arr. solo piano

Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement with syncopated shapes that needs to be played at a consistent Show More...

Odeon originates as a piano piece and dates from 1909. It is a lively rhythmic movement with syncopated shapes that needs to be played at a consistent tempo. This is the piano version in its original key with the realisation playing at a tempo of 92 quarter note or crotchet beats to the minute. 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. Close

Norwegian Dance No.2 arr. solo piano

An arrangement by the composer for solo piano of this charming character piece. This movement is in ABA ternary form with the A section playing back a Show More...

An arrangement by the composer for solo piano 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. Pianists have a number of different techniques that they develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. As is the case with music from this period the sheet music copy has a considerable amount of score detail. 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 fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. Close

First Movement from Keyboard Sonata in C K.19d piano 4 hands

The First Movement from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. The realization plays back at a tempo of Show More...

The First Movement from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. The realization plays back at a tempo of 60 half note (minim) beats to the minute. The music editor suggests 64 minim beats to the minute as an ideal tempo for playing the movement. A light touch is required in a performance and all notes need to be clearly articulated. Playing Mozart requires a very consistent and even approach and the avoidance of exaggeration. As far are ornaments are concerned players should be imitating each other in their delivery. The short trill is a simple 4 note shape. This is music that is very much about melody and accompaniment and it is important for players to communicate its charm and beauty. The music editor’s preference is for a dry acoustic which is appropriate for the music and instruments of the period. This sonata is likely to have been performed by the young Mozart with his elder sister Nannerl on a visit to London where the performing instrument was likely to have been a harpsichord. The music was only discovered in 1921 and whilst in the past it has been attributed to W.A Mozart the current view is that it was more probably composed by either his older sister Nannerl or his father Leopold. Suffice to say that much of Mozart's classical musical style is demonstrated in this sonata whichever one of the family composed it! The sonata has some very appealing musical content and as a work, most probably written by a child, it is interesting to play and compare to W.A. Mozart's later and more substantial piano 4 hands music such as the piano Sonata for Piano 4 hands in C K.521. There are several variants in terms of the scores available but the sheet music score and realisations are based on current performance practice. 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 half note beats (minim) to the minute, Accompaniment 2 at 64 half note beats (minim) beats to the minute and Accompaniment 3 at 60 half note beats (minim) to the minute. There is a 4 bar count in featuring the sound of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Tarantella arr. piano

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 solo piano 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 other serious composers have also contributed music to the tarantella repertoire. Close

Piano Prelude in C# minor Opus 22 No.2

This piano prelude dates from 1897. Whilst Scriabin was famous and his importance recognised in his lifetime his music has been largely ignored and fo Show More...

This piano prelude dates from 1897. Whilst Scriabin was famous and his importance recognised in his lifetime his music has been largely ignored and forgotten since his death. His musical language is frequently extremely chromatic and dissonant whilst his early works can be described as belonging to the late romantic period in music history and are essentially tonal works. Many of his preludes and short works are both beautiful and challenging pieces of music and are deserving of more attention and being played. This particularly piece has been popularised by the American group the Punch Brothers on their album Phosphorescent Blues. As a young composer Scriabin was influenced by Chopin but in his later life he became pre-occupied with mysticism and theosophy in time becoming identified as a symbolist composer. Close

Norwegian Dance No. 2 arr. piano duet

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

Military March No.1 (Marche Militaire) Opus 51 arr. piano 4 hands

The Military March No. 1 Opus 51 D.733 was published in 1826 along with two other marches although it was more than likely composed some years before Show More...

The Military March No. 1 Opus 51 D.733 was published in 1826 along with two other marches although it was more than likely composed some years before this date. It was intended to be a teaching piece. The March is in the key of D with the Trio section in the sub-dominant key of G. This work for piano four hands or piano duet has become one of Schubert’s most popular works. There are many arrangements for a range of different instrument combinations. The music is both tuneful and rhythmic. The March and the succeeding Trio are both in AB binary form with the repeats being played. The March is repeated at the end of the Trio without repeats so the form in performance can be summarised by the letters AABBCCDDAB. The realisation plays back at a tempo of 120 quarter note (crotchet) beats to the minute which is a tempo the music editor suggests the music really comes alive. 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 120 quarter note beats (crotchet) to the minute, Accompaniment 2 at 116 quarter note (crotchet) beats to the minute and Accompaniment 3 at 110 quarter note beats (crotchet) to the minute. There is a four bar count in with a woodblock sound. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Third Movement: Rondo Keyboard Sonata in C K.19d piano 4 hands

The Rondo from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. It is believed that this work dates from 1765 and Show More...

The Rondo from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. It is believed that this work dates from 1765 and was possibly played by Mozart and his sister on a visit to London when more than likely it was played on a harpsichord. A rondo is a piece with a recurring theme and the form of this movement can be represented by the letters A B A C A D A E A. The realization plays back at a tempo of 110 quarter note beats to the minute. Each section is played at the same tempo apart from the Adagio E section. The appoggiaturas marked in the score can be and are interpreted differently by different performers. The music was only discovered in 1921 and whilst in the past it has been attributed to W.A Mozart the current view is that it was more probably composed by either his older sister Nannerl or his father Leopold. Suffice to say there is much of Mozart's classical musical style in this sonata whichever one of the family composed it! The sonata has some very appealing musical content and as a work, most probably written by a child, it is interesting to play and compare to W.A. Mozart's later and more substantial piano 4 hands music such as the piano Sonata for Piano 4 hands in C K.521. There are several variants in terms of the scores available but the sheet music score and realisation are based on current performance practice. 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 110 quarter note beats (crotchets) to the minute, Accompaniment 2 plays at 106 quarter note beats (crotchets) to the minute and Accompaniment 3 plays at 100 quarter note beats (crotchets) to the minute There is a 4 bar count in featuring the sound of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Minuet and Trio Keyboard Sonata in C K.19d piano 4 hands

The Minuet and Trio for piano 4 hands from the Keyboard Sonata in C K.19d is an intermediate level piano duet. It is believed that this work dates fro Show More...

The Minuet and Trio for piano 4 hands from the Keyboard Sonata in C K.19d is an intermediate level piano duet. It is believed that this work dates from 1765 and was possibly played by Mozart and his sister on a visit to London when more than likely it was played on a harpsichord. The music was only discovered in 1921 and whilst in the past it has been attributed to W.A Mozart the current view is that it was more probably composed by either his older sister Nannerl or his father Leopold. Suffice to say there is much of Mozart's classical musical style in this sonata whichever one of the family composed it. The sonata has some very appealing musical content and as a work, most probably written by a child, it is interesting to play and compare to W.A. Mozart's later and more substantial piano 4 hands music such as the piano Sonata for Piano 4 hands in C K.521. There are several variants in terms of the scores available but the sheet music score and realisation are based on current performance practice. The pattern that the of this music in performance is Minuet AABB Trio AABB followed by a repeat of the Minuet without repeats AB. The video score plays back at a tempo of 112 quarter note beats to the minute. The tempi of the minuet and trio sections are the same. Pianists and keyboard players do need to approach the work with a lightness of touch which is perhaps not suggested in the realisation. All notes need to be clearly articulated but duettists need to remember that the piece is very much about melody and accompaniment and it is the top line which needs to prevail. The music editor is keen to have feedback in respect to the accompaniment particularly in regard to the tempo that has been suggested. 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 126 plays at quarter note beats (crotchet) to the minute, Accompaniment 2 plays at 120 quarter note beats (crotchet) to the minute at beats to the minute and Accompaniment 3 plays at 112 quarter note beats (crotchet) to the minute. There is a 2 bar count in featuring the sound of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

La biondina in gondoleta arr. solo piano or keyboard

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often express Show 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 solo keyboard or piano sounding in the key of G with the realisation playing back at a tempo of 60 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. The first verse is a fairly straightforward two part version of the song and then in the second version or repeat the texture is more complicated intending to stretch the player. The music editor is keen on keyboard and piano players returning to a piece of music that can clearly demonstrate evidence of progression. Close

When The Saints Go Marching In arr. piano in D

When The Saints Go Marching In arranged for solo piano or keyboard in the key of D. The challenge for the piano/keyboard player is to keep the melody Show More...

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

When The Saints Go Marching In arr. piano in C

When The Saints Go Marching In arranged for intermediate level solo piano or keyboard in the key of C. The challenge for the piano/keyboard player is Show More...

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

When The Saints Go Marching In arr. baritone horn & piano

When The Saints Go Marching In arranged for baritone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the min Show More...

When The Saints Go Marching In arranged for baritone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist 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. A baritone part appropriately transposed is appended to the full score and there is a piano accomanpiment available. Close

The Happy Farmer

A movement from Schumann’s “Album for the Young” Opus 68 (1848) for improver level piano. The piano collection which was composed at a very happ Show More...

A movement from Schumann’s “Album for the Young” Opus 68 (1848) for improver level piano. The piano collection which was composed at a very happy time in his life has many delightful pieces of music to discover. The edited music score has clearly specified fingering. This is an excellent piece for developing a singing legato line in the left hand. The realization plays at a tempo of 110 quarter note beats (crotchet) to the minute. It is also the ideal movement for developing two important piano /keyboard techniques: i) slipping the thumb down from one note to another (bar 4 left hand) and also changing the finger on a note. Both techniques encourage good legato playing. Close

The Last Rose of Summer arr. improver piano

This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played as a concert piece. The melody is Show More...

This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played as a concert piece. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many also melodic variants as often is the case with folk music. Pianists need to aim for legato and singing tone and may wish to omit the small ornamental notes as they learn the piece. Close

Keyboard Sonata in G Minor (C.61)

Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembe Show 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. The movement marked Adagio ma non troppo requires a legato touch while the realisation plays at a steady 42 quarter (crotchet) beats to the minute. The score has been prepared for performance on a piano and the ossia stave has an interpretation provided for the playing of the ornaments in bar 2 although there is option to modify these suggestions which possibly lack some rhythmic flexibility. The repeat of the ornaments in bar 15 should be played as in bar 2. Keyboard players need to have a keen awareness of the eighth note or quaver pulse when they are playing. The repetitive element in the music is strong whilst 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. The keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found in recordings are editorial. They are works with appeal and consistent in their quality. The composer’s music is deserving of more attention and the keyboard sonatas are excellent performance pieces. A plain music score is appended to the edited music score. Close

Evening in Transylvania

This piece known as Evening in Transylvania and also Evening in the Village is from the composer’s piano collection Ten Easy Pieces. There are two Show More...

This piece known as Evening in Transylvania and also Evening in the Village is from the composer’s piano collection Ten Easy Pieces. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bartok remains loyal to the principle of contrast in music exploring two different ideas. Bartok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in both clefs. The rhythmic purpose of his music is always very strong and whilst delivery of the melody needs to be quite fluid in the rubato section the music nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. Some pedalling has been indicated in the score but the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composers own time. Bartok considered the piano to be a percussion instrument and as a composer many of his folk music arrangements explore the modal element that is so characteristic of folk music and accompaniments make use of ostinatos. Much of his piano music was composed for teaching purposes and collections such as For Children and Mikrokosmos are well worth exploring. Bartok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bartok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Close

Neapolitan Song

This charming and tuneful piece is from Tchaikovsky’s Children’s Album Opus 39 which dates from 1878. The first section is played at a tempo of 10 Show More...

This charming and tuneful piece is from Tchaikovsky’s Children’s Album Opus 39 which dates from 1878. The first section is played at a tempo of 100 quarter note (crotchet) beats to the minute and the faster section at 120 quarter note (crotchet) beats to the minute. The melodic line needs to clearly articulated and the accompaniment played with a lightness and bounce. The melody also features in Act 3 of the composer’s ballet Swan Lake. Close

Sonata in D for Keyboard/Piano

The Sonata in D by Mateo Albéniz is a binary form (AB) work that is essentially in 6/8 but explores the characteristic 3/4 v 6/8 rhythmic shapes of S Show More...

The Sonata in D by Mateo Albéniz is a binary form (AB) work that is essentially in 6/8 but explores the characteristic 3/4 v 6/8 rhythmic shapes of Spanish music. Often these are explored in adjoining bars and sometimes even in the same bar. It is music of joy and energy more baroque than classical as one would expect from a composer working at a distance from the main centres of European music. As a piano piece it does have something of the lightness of a Mozart movement but coloured with reference to the phyrgian mode that help give the music its Spanish character. The music editor prefers a consistent approach to the playing of the ornaments which have been written out in full in the score and a lightness of touch is essential if rhythmic accuracy is to be communicated. The realisation plays at a tempo of 124 dotted quarter (crotchet) notes to the minute and the repeats are played. Some score detail in respect to phrasing has been indicated in the edited music score whilst a plain score is also attached enabling to add score details as they wish. There are one or two alternative options indicated by the ossia staves and they are in place essentially to draw awareness to inconsistencies that exist in the score. In addition, the music editor could suggest that bars 9 and 13 be mirrored in the closing section at bar 85 and 90 although pianists play the music as notated in the score. Sometimes the left hand is required to play notes that have been notated in the treble clef. Keyboard players who do their listening research will discover that there are options as far as adding additional ornaments in their performances which is perfectly permissible in the repeat sections. Again as in most music of this time it is difficult to find two performers approaching the playing of ornaments in the same way. There are versions of this music for classical guitar and also harp. Close

Keyboard Sonata in A Minor (C.55)

Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembe Show 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 was played on both the piano and the harpsichord and several pieces have been transcribed for the classical guitar. This short movement requires a legato touch and the realisation plays at 42 dotted quarter (crotchet) beats to the minute. The ornaments are played quickly and start on the beat and whilst not indicated in the score some limited use of the sustaining pedal is suggested. From the performance point of view the rhythmic shape of the left hand part needs to be constant. The Siciliana rhythmic shape is best described as a slow lilting pattern in 6/8 or 12/8 time and has proved a popular template since baroque times. It can described as a slow jig. Cimarosa’s keyboard music is well worth investigating although his work still needs to be authenticated. The keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found in recordings are editorial. They are works with appeal and consistent in their quality. There is some suggested fingering on the edited music score whilst a plain score is also appended. Close

Sururú na Cidade arr. solo piano

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 Show 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. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. Some performers play the repeat of the C section at the octave as indicated in the score but this is optional. Close

No Bailes Más! (Dance No More)

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 Show More...

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 the realisation plays 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. A piano version in the key of F is is appended to the Eb score to encourage playing in a range of keys. Close

Scherzino Mexicano

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

Off To California arr. beginner piano

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

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep them fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged. The realisation of this two part version with letter names in the note heads 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 although this score has both letter names of the notes in the notepad and suggested finger to encourage the beginner/improver player to make rapid progress. Understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Close

Off To California arr. piano solo in G (Vamped Chords)

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

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep them fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged. The realisation of this version with vamped chords as the accompaniment 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 in this version which has vamped chords to accompany the melody. Folk music scores are generally presented with minimal score detail although there is some suggested fingering for the player. Understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Close

Off To California arr. piano solo in G (Two Part)

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

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep them fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged. The realisation of this two part 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 fee as heard in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line in this two part version. Folk music scores are generally presented with minimal score detail although in this score there is some suggested fingering. Understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Close

Swing Low, Sweet Chariot arr. piano solo in G

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

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

Swing Low, Sweet Chariot arr. piano solo in F

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

This is a very popular piece of music that in many respects transcends idiom, style & it could be suggested culture. This improver level arrangement for solo piano or keyboard in F is in common time although some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary style. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. This arrangement explores a gentle rock style whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar. Close

Pavane (Full Version) Opus 50 arr. cello & piano

This is a piano arrangement based on the piano and SATB vocal arrangement of the complete version by the composer. The layout is intended to clarify t Show More...

This is a piano arrangement based on the piano and SATB vocal arrangement of the complete version by the composer. The layout is intended to clarify the voicing of the music. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 84 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the E# beginning and ending with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. One of the playing challenges is that the same note can be sounded in a different part. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. This is an excellent piece for exploring the tonal range of the piano but avoid playing the quieter sections too loudly. Close

Skye Boat Song arr. solo piano

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 no introduction in order to keep the phrase structure balanced. Close

Pavane arr. Intermediate Level Piano

This is an intermediate level piano arrangement based on the piano and SATB vocal arrangement by the composer. The layout is intended to clarify the Show More...

This is an intermediate level piano arrangement based on the piano and SATB vocal arrangement by the composer. The layout is intended to clarify the voicing of the music. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the E# beginning and ending with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. One of the playing challenges is that the same note can be sounded in a different part. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. This is an excellent piece for exploring the tonal range of the piano but avoid playing the quieter sections too loudly. Playing the first section from bar 1 – 42 ending on the chord at the beginning of bar 42 works well as a “short version” of the movement. Close

Le Banjo (Full version in F) for solo piano

Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the ag Show More...

Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for solo piano the playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 81 and bar 149 start on the note. There is a further challenge in that a concert version of the piece can be readily sourced for those who like a real challenge. Close

First Movement from Keyboard Sonata in F minor W.57/6 H.173

This music was composed in 1763 and anticipates particularly thematically and rhythmically musical directions later explored by Beethoven and others. Show More...

This music was composed in 1763 and anticipates particularly thematically and rhythmically musical directions later explored by Beethoven and others. Pianists need to approach playing this movement with clarity in their rhythmic intention and demonstrate an understanding of the context of the triplet figuration that dominates the movement. Whilst the realisation indicates the music editor’s intention as to how the music should be approached the piano touch could be on the lighter side and there could be a little more “ebb and flow” tempo wise in the cadenza like sections (bars 22-23, bars 55-56 & bars 78-79) and at cadences. Although the music texturally isn’t complicated, the piece is quite demanding to play in that a consistency of touch and articulation is required. The instrument needs to be played with a lightness of touch with the player intent upon communicating the beauty of the music. Understandably there is no evidence of performance practice from C.P.E Bach’s own time and the music editor suggests that it is quite possibly that approaches to playing of music from this period have changed over time. A tempo of 120 quarter note (crotchet) beats to the minute is used in the realisation. The music copy has been prepared with the modern piano intended as the performance instrument. Limited use of the sustaining pedal can be considered and ornaments need to be played with a similar rhythmic clarity and an understanding of context. Not many people play C.P.E.Bach’s music which is a shame because he composed works of quality and he has an important position in music history linking the Baroque with the Classical era. Both Haydn and Beethoven were influenced by his compositional approach. The music editor also suggests listening to the available recordings of the work played on a variety of different keyboard instruments. Interestingly there are many different approaches to playing this piece particularly with respect to tempo and rhythmic interpretation. Some performers approach the piece as if it is a piece of classical music even suggesting tempos and a playing approach in the style and manner of playing a Beethoven piano sonata. Recordings also have different acoustic properties although many in the music editor’s opinion are much too reverberant and consequently “rather cloudy”. The challenge is to play the piece with the intention of revealing its beauty, its texture, it’s rhythmic intention and the composer’s individual style whilst acknowledging its historical context. Whilst the music, texturally, belongs to the baroque both thematically and rhythmically the musical content looks forward and anticipates much of the keyboard music style of Haydn and Beethoven. This is an ideal challenge for some test piece at a competition or music festival because it invites so many different approaches. There is a commentary on how to play the ornaments in the score. Close

Little Prelude in D BWV 936

A lovely piece by Bach to encourage legato playing.

Czardas arr. solo piano

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” 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 the sections between bar 70 to 85 can be 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! Close

Santa Lucia arr. piano in D

Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...

Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases which is not indicated in the score. A tempo of 96 quarter note (crotchet) beats is used in the playback in this version which is in the key of D. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance. Close

Santa Lucia arr. piano in C

Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...

Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases which is not indicated in the score. A tempo of 96 quarter note (crotchet) beats is used in the playback in this version which is in the key of C. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance. Close

Le Banjo arr. intermediate piano

Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the ag Show More...

Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minute is used in the realisation of this intermediate level arrangement of “Le Banjo” which dates from 1853. Whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. The arrangement has been made with the intention of presenting the music as a concert piece for the intermediate player. Close

Fantasy Piece No.1 arr. flute & piano

Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...

Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A flute part with a number of octave transpositions allowing the soloist to keep within the range of the instrument is appended to the full score. Three piano accompaniments are available for this score. Accompaniment 1 plays at 88 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 80 quarter note beats (crotchet) to the minute. Close

The Swan arr. flute & piano

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 high quality and variety. A solo flute part is appended to the full score. There are four accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 85, 72 66, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. Close

Third Movement Allegro assai | Sonata in Am Wq 49/1

This movement is the third and last movement of a sonata published as part of a collection of harpsichord sonatas in 1742. Whilst there is evidence in Show More...

This movement is the third and last movement of a sonata published as part of a collection of harpsichord sonatas in 1742. Whilst there is evidence in the score of its harpsichord origins it is nevertheless a piece very suited to being performed on a modern piano. The counterpoint or combination of lines of music lines is a particularly strong element in the composition. A tempo of 132 quarter note (crotchet) beats to the minute is used in the realisation although a target of 120 quarter note (crotchet) beats to the minute is probably a fair target in the first instance. Contemporary performances of the piece generally have the first section repeated and the second section played without a repeat. There is quite an amount of dramatic tension in the music arising from the detached notes and the concise two bar phrasing suggesting at times an almost hushed urgency. The ornaments include trills which start on the note, crushed notes or acciaccaturas and the odd appoggiatura which have sometimes been written out as in bar 7. The ornaments in the section from bar 86 to 91 are best played as crushed notes giving the music a more classical spirit to it although in some scores they are notated as appoggiaturas. The music editor always references contemporary performance practice when preparing scores and favours crushed notes in this instance. As usual the music editor has been very consistent in his approach to ornamentation and advises players to keep matters as simple and straightforward as possible. Keep the trills metrical and the editor suggests that it is best to avoid a triplet ending to the trills although they are inclined to sneak in to ones playing almost unnoticed. Spread chords are a feature and some work is required to sort out the sharing of the work load between the two hands. This is an excellent example of music that is for want of a better description is pre-classical composed in the period between the baroque and classical era. C. P. E. Bach’s music is deserving of being played and listened to more regularly in what is one of the most interesting and fascinating times in music history. The music editor is keen to hear that this piece is being played and would value receiving feedback. Whilst a sheet music score has been prepared as if the piece is a classical work there is a plain score appended to the edited music score. Close

Fugue in C major BuxWV 174

A fugue is not strictly a musical form but more a compositional style in which the process of imitation dominates in voices or lines of music describe Show More...

A fugue is not strictly a musical form but more a compositional style in which the process of imitation dominates in voices or lines of music described as counterpoint. Understand that the musical conception is in lines. The realisation plays back at 100 dotted quarter notes to the minute. The music editor suggests that if you have the technique and composure try to get to 110 dotted quarter notes to the minute as the music then really does seem to come alive. The dynamic range of this work is very much determined by the texture which varies from a single voice to four voices in varying combinations. In music of this time the score detail tends to be quite minimal and this score keeps to that practice. Buxtehude’s position in music history has resulted in him being overshadowed by J. S. Bach but Buxtehude composed many fine keyboard works that transcribe well to the piano. This is an uplifting piece to both listen to and play having the rhythmic template of a jig and a “modern” sound attributable to the tonal ambiguities that result from the conflicting accidentals often in different lines of the music. For those interested in finding out more about this look up the term “false relation.” The subject entries need to be clearly articulated and a sense of forward movement needs to be communicated at all times by the piano/keyboard player. In terms of the music setting there are some indications in the score as to which hand plays which line of the music and the player needs to have a clear understanding of the division of labour between the two hands. Ornaments do not feature in the score but can be added at the performers discretion once a clear understanding of the options have been appreciated from listening and analysing recordings and performances. Close

Rondo in D minor Wq.61/4

A dramatic and spirited movement which whilst very different texturally to Beethoven’s music harmonically it does point in his direction. In charact Show More...

A dramatic and spirited movement which whilst very different texturally to Beethoven’s music harmonically it does point in his direction. In character the music is almost a conversational piece although formally it can be described as a rondo which is a piece with a recurring theme. The phrase structure is not particularly regular and there are several changes of mood in the various section although the main thematic motive is always clearly recognisable. The sheet music score has been prepared for the performance on the piano and only limited use of the sustaining pedal is suggested. For clarity the music editor suggests essentially the one ornament shape when performing the work which reflects current practice in the interpretation of music of this period. Too many different ornaments can be distracting both to the performer and listener alike. The opening ornaments are notated on ossia staves and the player should continue with the same shapes through the movement. The slight slowing down appropriate at the ends of the phrases are not marked in the score. There are recordings available of this work played on the modern piano, fortepiano and the harpsichord. C.P.E Bach was a prolific composer and an important transition figure in music history linking the baroque with the classical age in music history. He was very aware of contemporary practice and contributed much to developing style and form although at the same time he was able to remain surprisingly free spirited. C.P. Bach’s music is worthy of attention and for piano players there is a wealth of excellent music for the developing pianist. This work composed in 1786 and published in 1787 comes from period near the end of his life. Close

Allegretto con variazioni “Ah, vous dirai-je, maman”

J.C.F.Bach was the fourth and youngest composing son of J.S.Bach. Many songs in different languages have been based on this familiar French song know Show More...

J.C.F.Bach was the fourth and youngest composing son of J.S.Bach. Many songs in different languages have been based on this familiar French song known as "Ah! vous dirai-je, maman" including "Twinkle, Twinkle, Little Star" and "Baa, Baa, Black Sheep." These set of variations provide an excellent summary of keyboard technique available and used during the late baroque/ early classical period. The score has been prepared for performance on a modern piano. The pianist may want to add some sustaining pedal particularly in Variations 4, 8, 9 and 10 although pedal markings are not indicated in the score. The changing meters does add a complication as to how the bars of music are counted. Understand that each variation has its own tempo. When playing variations don’t think that all variations need to be played at the same tempo. The ornament used in this set of variations is an upper mordent comprising the note, the note above and then the note itself again. Most of the musical content is classical in spirit and the phrase structure is understandably symmetrical which makes it a good piece to memorise. The score also has some suggested fingering. The music editor suggests that when performing the variations it would good idea to choose a selection of the variations to play. Suggested performances patterns could be: Option 1 Theme + Var. 1 + Var. 2 + Var. 3 + Var. 4 + Var. 5 + Var. 9 and for Option 2 Theme + Var. 7 + Var. 8 + Var. 9 + Var. 10 + Var. 11 + Var. 12. Close

Al Fresco arr. solo piano

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 Show 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 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 it intended to break a mood it is ideally placed as part of the repertoire in the PlentyMusic Café although there is also a version for piano duet / piano four hands on the website. 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. Close

Al Fresco arr. piano duet / piano four hands

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 Show 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 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 it intended to break a mood it is ideally placed as part of the repertoire in the PlentyMusic Café although its first entry on the website is as a piano duet. 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. Close

Keyboard Sonata in D

Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music Show More...

Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music was played on both the piano and the harpsichord whilst many pieces have been transcribed for the classical guitar. Most of his keyboard movements requires a lightness of keyboard touch - the realisation plays at 92 quarter (crotchet) beats to the minute. In the hands of a skilled player thoroughly conversant with keyboard style of the period there are opportunities to embellish the melody line and add additional ornaments. The music is full of charm and musical ideas offering the opportunity to develop staccato, staccatissimo and legato playing. The music editor suggests that generally on repeating notes changing the finger used on each note is the best option. Cimarosa’s keyboard music is well worth investigating although authentication of his work is a something yet to be confirmed. Understand that the keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found on recordings are editorial. They are works with appeal and consistent in their quality. A plain score is appended to the edited music score. Close

Keyboard Sonata in A

Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music Show More...

Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music was played on both the piano and the harpsichord whilst many pieces have been transcribed for the classical guitar. This short movement requires a lightness of touch - the realisation plays at 86 quarter (crotchet) beats to the minute. This relatively short movement is music that is full of charm and musical ideas offering the opportunity to develop staccato, staccatissimo and legato playing. The music editor suggests that generally on repeating notes as found in the accompaniment changing the finger used on each note is the best option. However, the fingering patterns can be changed particularly with the running thirds in the last section of the composition. Secure fingering needs to be in place when performing the movement and the best advice or working principle is to avoid the use of the thumb on the black notes especially when playing thirds. Cimarosa’s keyboard music is well worth investigating although authentication of his work is a something yet to be confirmed. Understand that the keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found on recordings are editorial. They are works with appeal and consistent in their quality. A plain score is appended to the edited music score. Close

Keyboard Sonata in C minor

Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music Show More...

Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music was played on both the piano and the harpsichord and many pieces have been transcribed for classical guitar. The score for the Sonata in C minor and the realisation is a straightforward “translation” of the score. The movement has poise defined very much by the choice of C minor as the key and the quite symmetrical rhythmic shapes and patterns. Many performances of this particularly movement are approached more as a “free translation” in that the figuration is interpreted decoratively and much ornamentally almost to the extent of becoming an improvisation although this was an aspect of continuo playing in the baroque period. Cimarosa’s keyboard music is well worth investigating although authentication of his work is a something yet to be confirmed. The music editor has made bar 11 a two beats to the bar measure. Understand that the keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found on recordings are editorial. They are works with appeal and consistent in their quality. A plain score is appended to the edited music score. Close

Sicilienne arr. solo piano

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 in several different forms and this is the composer’s own piano arrangement. Music such as this which has been transcribed from an arrangement to be played by a solo piano is a challenge to play because there is much detail that almost becomes hidden in the musical texture. When playing this piece on the piano it is particularly important to know where the melody is located. 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. The sustaining pedal is required although this has only been indicated in the opening bars of the score. The pianist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 52 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. Close

Third Movement:Finale (Piano Sonata No.50 Hob.XVI/37)

This movement is in rondo form which can be represented formally by the letters ABACA - a rondo is a piece with a recurring theme having its origins a Show More...

This movement is in rondo form which can be represented formally by the letters ABACA - a rondo is a piece with a recurring theme having its origins as a dance.Changing the finger on a repeating note is a piano technique that can be usefully explored in this movement if only to give to a lightness to the touch which is required if the movement is to be played at tempo. In fast playing the dynamics also need to be controlled and I would avoid playing the movement too loudly. A performance tempo of 100 quarter note beats to the minute is a good first target. The realisation playback tempo is 144 quarter note (crotchet) beats to the minute with the repeats for a change played in the realisation. Ornaments and appoggiaturas are written out in the edited music score with trills beginning on the note. Understand that there are several options and solutions available as far as "suggested" fingering is concerned but it is a work in which legato, staccato and staccatissimo touches can be explored. In the repeats gifted and sensitive interpreters of Haydn's music add additional ornaments and figurations whilst possibly varying the dynamic and tempo but all keeping to the musical style. This is an excellent piece for developing musical memory and when possible players should try and put the sheet music aside. The movement composed in the late 1770's has more than a suggestion of the spirit of the composer and his evident humour. A plain score is also appended to the edited sheet music score allowing the player some flexibility in their approach. Close

First Movement | Keyboard Sonata in A

This is a pianistic and surprisingly technically quite straight forward to play. The main challenge is playing at a consistent tempo in the loud secti Show More...

This is a pianistic and surprisingly technically quite straight forward to play. The main challenge is playing at a consistent tempo in the loud sections. The realisation is plays at 132 quarter note (crotchet) beats to the minute although it can be played faster! A very light pianistic touch is required particularly at the tempo that this piece requires. Staccatissimo markings (a very short staccato and an identifiable keyboard touch imitating a plucking action on the keys) have been used in the score together with staccato markings indicating that a short note is to be played. Some use of the sustaining pedal is suggested particularly when arpeggiated chords are played although this has not been indicated on the score. The closing section should be played at a steady two beats in the bar feel and needs to be understood as being a link to the second slow movement of the sonata. This piece is also excellent for developing rotation skills in the wrist and forearm. C.P.E.Bach's favourite keyboard instrument was the clavichord which is a very quiet sounding instrument and it is evident from his considerable output of music that he was a very hard working musician and composer. The ornaments, apart from the crushed notes or acciaccaturas have been written out in full to add clarity to the score whilst the repeats are not played in the realisation. The music editor suggests listening to performances of this movement played on different types of keyboard instruments. Close

Adagio from Keyboard Sonata in D

This is a piece possessing great melodic beauty and players should understand that the melody is the main musical focus in a performance. This is an A Show More...

This is a piece possessing great melodic beauty and players should understand that the melody is the main musical focus in a performance. This is an Adagio movement and pianists/keyboard players should avoid playing the movement too quickly. Sadly, much of this composer's music was lost when Napoleon invaded Venice in 1796 and for the music editor this composer has been a recent discovery. The trills begin on the note whilst the spread chord does not sound as a spread chord in the in the realisation. There are some rhythmic options when playing the melody given in ossia staves. Keyboard players have wish to add additional ornaments but do ensure that these do not detract from the beauty of the melody. Close

Second Movement Scherzando | Piano Sonata No.49

The tempo indication Allegro con brio is possibly a bit on the strong side for this movement which has character and charm rather than vigour. Scherza Show More...

The tempo indication Allegro con brio is possibly a bit on the strong side for this movement which has character and charm rather than vigour. Scherzando is a direction to play in a playful manner whilst the realisation playback tempo is 110 quarter note (crotchet) beats to the minute with the repeats not played. The realisation is functional but understandably does lack the subtlety that is communicated in a performance. Ornaments and appoggiaturas are written out in the edited music score with trills beginning on the note and having a 5 note shape reflecting current performance practice. Composed in the late 1770's the work that reminds us that Haydn's did possess a sense of humour which is often evident on his music. Understand that there are several options available as far as "suggested" fingering is concerned but it is a work in which legato, staccato and staccatissimo touches can be explored in performance. The thumb is generally avoided on the black notes and there is an opportunity to explore changing the finger on a repeating note. A source score is appended to the sheet music score allowing the player some flexibility in their approach. In the repeats gifted and sensitive interpreters of Haydn's music add additional ornaments and figurations whilst possibly varying the dynamic and tempo but all keeping with the musical style. Close

First Movement | Sonata in A

Johann Christian Bach (1735-1782) is often referred to as the "London Bach" and important because he influenced Mozart's concerto style and is identif Show More...

Johann Christian Bach (1735-1782) is often referred to as the "London Bach" and important because he influenced Mozart's concerto style and is identified with the musical style known as "style galant." His keyboard music was generally performed on the fortepiano and there are recordings available of this sonata played on the harpsichord, clavichord, fortepiano and modern piano. The music copy is prepared the sonata to be played on a modern piano although the music editor does suggest listening to recordings of performances on other keyboard instruments. of the sustaining pedal can be considered particularly in the chordal sections although this has not been indicated in the score. This is one of a number of excellent and appealing pieces for the intermediate level pianist/keyboard player ensuring that a basic skill set is in place for the developing player. A tempo from 100 to 110 quarter note beats to the minute is suggested and 110 quarter note beats to the minute has been used in the realisation with the repeats not being played. Ornaments need to be played rhythmically and consistently although the music editor suggests leaving them out in the early stages of learning the piece. Trills do vary in length according to their context. The right and left hand parts are not always rhythmically independent - in passages where there are triplets the trills need to be adjusted so that there is a some sharing of the overall dominating rhythmic pattern. The score detail in respect to this is clearly indicated. Close

Allegro in A

This work provides something of a puzzle because whilst it is attributed to W.F.Bach more than likely it was composed by someone else. Understand that Show More...

This work provides something of a puzzle because whilst it is attributed to W.F.Bach more than likely it was composed by someone else. Understand that the Bach family and their many pupils copied and shared much music and compositions were frequently credited to the wrong person. The realisation is played without repeats and the bar 33-36 link or transition does not always appear in all printed copies. It is a short piece that has unity, concise musical ideas and appeal both for the player and the listener. Score detail is in place for performance on a piano. A plain copy of the score is also appended to the edited music score. Close

Solfeggio in C minor

This piece has a misleading title because really it would be better described as a toccata. Keyboard players in the past particularly of small instrum Show More...

This piece has a misleading title because really it would be better described as a toccata. Keyboard players in the past particularly of small instruments like the clavichord were required to tune their instruments before playing them simply because instruments very quickly went out of tune. This is the origin of these "touch" or "tuning" pieces and C.P.E.Bach's Solfeggieto was composed very much in this style. Many of these touch pieces became in the hands of J.S.Bach and others very sophisticated compositions which were written down and described as toccatas. This is C.P.E. Bach's most familiar work and is an excellent piece for encouraging a light touch and dexterity in the fingers. There is a plain score appended to the edited score which the player can use if preferred. Close

First Movement from Keyboard Sonata in C (Illy No. 27)

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 Show 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 so as to enable players to understand how the ornaments are 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 piano melody does have score detail relating to articulation. The tempo of the realisation is 50 quarter note (crotchet) beats to the minute and whilst the repeats are indicated in the scores they are not played in the recording. Pianists may wish to make use of the sustaining pedal although this also has not been indicated in the scores. Close

October (Autumn Song)

October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Show More...

October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same relevance with modern instruments especially the modern piano. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece and pianists should explore the ensemble options when opportunities arise. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be much longer. The small notes do not sound in the playback the realisation. The editor suggests listening to many of the excellent performances of this work. This version has detailed fingering in place. There are no pedal markings on the score but use of the sustaining pedal is recommended and in the edited music score fingering is placed above and below the two staves. Changing the finger on a note is a very useful technique to employ to sustain the legato when performing this music. A plain score of the work is appended to the edited music score. Close

Serenade (Petite Suite) Original

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 Show 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 the 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. The music editor suggests use of the piano sustaining pedal although this has not been marked in the score. Pianists and keyboard players will need to spend time analysing the musical texture to understand which notes belong to which musical line of which there are three - melody, harmony and an ostinato accompaniment. This is the original version of the work in the original key of B flat minor. Close

Serenade (Petite Suite) arr. intermediate piano

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 Show 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 the 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. The music editor suggests use of the piano sustaining pedal although this has not been marked in the score. Pianists and keyboard players will need to spend time analysing the musical texture to understand which notes belong to which musical line of which there are three - melody, harmony and an ostinato accompaniment. This is a simplified version in the original key of B flat minor. Close

The Easy Winners Original Piano Version

This is the original piano version of the “Easy Winners” and the tempo in the realisation is 76 quarter note (crotchet) beats to the minute whilst Show More...

This is the original piano version of the “Easy Winners” and the tempo in the realisation is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. 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 (crotchet) beats to the minute sounds fast. The view of the music editor is to play the piece at the slowest tempo musically possible whilst at the same time exploring the musical shapes which the realisation does rather inadequately. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises during 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: I AA BB AA CC DD. Pianists also need to explore the ensemble options that exist with this piece that can be found on this website. Close

The Easy Winners arr. Intermediate Piano

In this arrangement for intermediate piano in the key G the realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats ar Show More...

In this arrangement for intermediate piano in the key G the realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats are not played. 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. The view of the music editor is to play the piece at the slowest tempo musically possible whilst at the same time exploring the musical shapes which the realisation does rather inadequately. 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 I AA BB AA CC DD. Pianists also need to explore the ensemble options that exist with this piece that can be found on this website. Close

First Movement from Sonata in A minor

A piece that possesses a haunting beauty written by a composer who knew C. P. E. Bach and who in 1794 settled in Moscow. Described as a sonata there Show More...

A piece that possesses a haunting beauty written by a composer who knew C. P. E. Bach and who in 1794 settled in Moscow. Described as a sonata there are recordings featuring both the harpsichord and the piano. A tempo of 80 quarter note beats to the minute has been used in the realisation although the tempo needs to slow down at the approach to cadences. Quite clearly it is impossible to evidence how this music was performed in its own day but the structure would suggest that there would be tempo variations between the sections. The opening 8 bar phrase is repeated three times exploring the range of the instrument before the first of several quasi fantasia / cadenza sections which express music a different mood and benefit from being played at a slightly slower tempo. Performance conventions and articulations clearly differ between the piano and the harpsichord and the music editor suggests listening to different recordings and possibly adding some appropriate ornamentation at the cadences which provide the sectional framework for the structure of the piece. There are ossia staves to clarify some notation issues and provide suggested solutions to the playing of the ornaments. The passage work is at times exquisite and both musically and pianistically anticipates the compositional techniques adopted by later composers. The repeats are not played in the realisation Close

Notturno arr. intermediate piano

This arrangement for solo piano uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. The movement is commonly referr Show More...

This arrangement for solo piano uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. 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 3 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment 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, which dates from 1881, has been incorporated into the arrangement. score. The solo piano version does not have the section in canon and consequently texturally the musical is not as complete as it is in the ensemble arrangements. Close

Plaisir d’amour arr. improver piano in F

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 Show 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 45 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. The use of ornamentation is minimal and there are just two which appear in the final section. They are probably best left out during the early stages of learning the piece. 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. This is an excellent piece of music to explore the possibilities of performing music slowly as it is easy for instrumentalists to play the melody too quickly. Close

Après un rêve arr. intermediate piano

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing and expressive legato. A tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation which is in the key of D minor. The pianist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much was regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have a true understanding of the music’s context. For players who would like an additional challenge there is also Percy Grainger arrangement of the song. Close

Après un rêve arr. alto saxophone & piano

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. The full score and appended solo part have the alto saxophone part appropriately transposed. Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close

Après un rêve arr. clarinet in B Flat & piano

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. The full score is notated at pitch whilst the appended solo part has the clarinet in Bb part appropriately transposed.Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close

Après un rêve arr. oboe & piano

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing and expressive legato. In this arrangement sounding in the key of D minor a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. A solo oboe part is appended to the full score. Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close

Jeanie with the light brown hair arr. piano

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. Close

Valse from L’Encouragement arr. piano

The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...

The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 60 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. Most of the musical content from the guitar duet version remains although some voicing has been made made more appropriate for the piano. There are no repeats in the realisation. Close

Theme & Variations from L’Encouragement arr. piano

Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic Show More...

Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that feature in this appealing work. Close

Cantabile from L’Encouragement arr. piano

Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement altho Show More...

Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar.” Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. In this piano arrangement some voicing and octave changes have been made to add clarity and generally make the texture more pianistic and whilst not marked on the score copy the sustaining pedal should be used. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. Close

The Teddy Bears’ Picnic arr. piano

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 intermediate piano in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Pianists 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. Close

Dedicatoria piano solo original

A short but quite charming piece from the composer's Opus 1 collection originally composed for piano. The tempo of the realisation is 62 quarter note Show More...

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

Traümerie original piano version

Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...

Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close

Spring Song (Original)

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 Show 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. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music editor's preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Close

Spring Song arr. intermediate piano

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 Show 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. 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. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - my personal preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Close

Tango in D for piano

This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrumen Show More...

This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument combinations. It features the habanera pattern in the accompaniment often combined with a colourful melody line notated in triplets. The modal shift to flat 6th is also very suggestive of Spanish music A tempo of 63 quarter notes to the minute is used in the realisation although tempo wise there is scope slowing down and speeding up when it is appropriate and this is reflected in the realisation. This is a an excellent piece for developing sensitive ensemble playing. Close

Waltz in A minor

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 Show 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 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. Note that the piano realisation has additional ornaments that don't feature in the arrangements in which melody is played by a solo instrument. Close

Keyboard Sonata in F minor K.519 (Edited)

This is an edited music score in that it has has some score detail to assist players in their performance and practice. The sonata needs to be played Show More...

This is an edited music score in that it has has some score detail to assist players in their performance and practice. The sonata needs to be played with a one in a bar feel. A tempo of 96 dotted quarter notes (crotchets) is used in the realisation. Ornaments need to have a clear rhythmic shape with the main ornament being the 4 note mordent beginning on the upper note. There is no consistency amongst performers in terms of when and how the ornaments are played in many of Scarlatti sonatas and the same is true of this one. The additional ornaments that features in the inner parts of bars 97, 101, 105, 108, 112 and 116 maybe omitted particularly when learning the sonata. It is probably best to avoid playing the repeats when learning this piece and many Scarlatti sonatas are in fact performed without all the repeats being played. Changing the finger used on a repeating note is a technique that can be applied in the left hand. A very light touch is required to play the movement at a tempo which allows the intensity of the music to come alive. There are times when the left hand is playing staccato and the right hand legato and other times when both hands are playing staccato. Whilst texturally quite straight forward this is a demanding sonata to play requiring a secure technique, control with the fingers close to the keys. Close

Keyboard Sonata in F minor K.481 (Edited)

This is an edited music score in that it has has some score detail to assist players in their performance and practice. A tempo of 48 half notes (mini Show More...

This is an edited music score in that it has has some score detail to assist players in their performance and practice. A tempo of 48 half notes (minim) beats to the minute is suggested. As a slow movement there are many interpretations as to how the ornaments are played and the music editor suggests that it would be worthwhile to spend some time listening to recordings of this sonata. Please observe that only the first two notes of four note ornaments have the fingering notated. Remember that the trill and the mordent sign mean essentially the same - if the ornament is cadential then it is likely and possible to have more notes with the tr sign is used. There is also scope for the confident player to add additional ornaments particularly in the playing of the repeats. There are other solutions to playing the ornaments but the ones suggested here keep very much to contemporary performance practice. Appoggiaturas (leaning notes) and acciaccaturas (crushed notes) in slow tempo works do presents a challenge as far as the interpretation and function. Music editors do tend to show evidence of an over understanding the interpretation of the ornaments. The best advice is to keep it simple, familiar and current - interpret the best of modern performance practice.The realisation is limited in respect to its interpretation of the score and the repeats are not played. Not too much use sustaining pedal is recommended and a rit. (slowing down) at the end of the two main sections is appropriate. The triplet motive introduced in bar 9 is indicated in the score for a couple of bars and then the symbol is omitted as is the case is conventional music setting. The music in this keyboard sonata possesses beauty and presence and the work should be played with delicacy and clarity. The interpretative qualities of a performance need to perhaps be more flexible than the realisation and limited use of the sustaining pedal is appropriate particularly at the end of sections. Close

Keyboard Sonata in D K.433 (Edited)

This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very appealing keyboard sona Show More...

This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very appealing keyboard sonata although there are not many recordings of this sonata available. Whilst the composers style is in evidence it is also a work in which a variety of moods are explored. A tempo of 96 half note (mimim) beats to the minute is suggested and used in the realisation. It is a sonata allowing the player to explore options in legato and staccato keyboard articulations. This takes place in the repeat sections. The edited score has articulation and dynamic markings clearly indicated. Interestingly there are interpretations in which the performers improvise around the shapes offering rhythmic variants and something more than just additional ornamentation. This features in the two repeat sections. Observation of how ornaments particularly at cadences are performed suggests that whilst there is a script there is a tendency for performers to become very individual and even extreme in their interpretations. Close

Keyboard Sonata in A K.322 (Edited)

This is an edited music score in that it has some score detail to assist players in their performance and practice. One of Scarlatti’s easier keyboa Show More...

This is an edited music score in that it has some score detail to assist players in their performance and practice. One of Scarlatti’s easier keyboard sonatas but nevertheless one that offers plenty of musical and interpretative challenges to the player. It is essentially a two part movement. A tempo of 90 half note beats to the minute is used in the realisation with the repeats not being played. This music needs to be played rhythmically with energy and little use of the sustaining pedal although it can be used in the closing bars of the A and B sections. This is an excellent movement for developing a skill set in terms of being able to articulate the playing of a melody line with a range of keyboard touches - legato, staccato, tenuto etc. There are rits. (slow down) at the end of the A and B sections on the repeats. This sonata like many other Scarlatti works is excellent for developing interpretative skills and performance experience. Varying and adding to the ornamentation in the repeats is an option. Many competent pianists play this relatively easy sonata adding additional music to the to the texture suggesting that in Scarlatti’s time improvisation was an aspect of performance practice. A plain score is also appended to the edited music score. Close

Keyboard Sonata in A K.208 (Edited)

This is an edited music score in that it has has some score detail to assist players in their performance and practice. The melody of this keyboard so Show More...

This is an edited music score in that it has has some score detail to assist players in their performance and practice. The melody of this keyboard sonata needs to be played with clarity and a lightness of touch with little use of the sustaining pedal at a secure and steady tempo. A tempo of 60 quarter note (crotchet) beats to the minute is used in the realisation and the repeats are not played. A slow tempo requires a very concentrated approach but does allow much more freedom in terms of the number of notes that can be played in a trill. In a slow movement it is often easier to play more notes in a trill to keep a more balanced rhythmic shape. The left hand chord on beat 4 of bar 13 could be spread although this is not marked in the score. The scores presented by many publishers are actually quite inaccurate particularly in respect to the rhythmic detail at the approaches to the important cadence points. There is the option of considering different and additional ornaments in the repeat playing of the two sections. I would suggest listening to some of the many recordings available of this work to decide on how you might play this work. The music editor found that once the piece had been learnt and was played with discipline it became much easier to play the ornaments with the spontaneity and freedom needed that is needed. Attention needs to be paid to the accidentals. It is very easy to play a wrong note. Best advice the playing of an ornament ultimately comes down to personal preference based on knowledge/familiarity of the musical style and works of the composer. Accept the fact that you may well change your opinion on how an ornament is played based on a "gathering information" approach. Ornaments need to be played on a musical basis rather than an academic one where the latter may end up as simply being an interpretation of mis-understood rules. Performance practice adds a complication in that changing times quite often results in different approaches and interpretations. Close

Keyboard Sonata in A minor K.141 (Edited)

This is an edited music score in that it has has some score detail to assist players in their performance and practice. A familiar AB binary movement Show More...

This is an edited music score in that it has has some score detail to assist players in their performance and practice. A familiar AB binary movement described as a toccata which originally were touch pieces intended to be used to tune the instrument but in time they became formalised into movements aimed at developing keyboard technique. Each part of the AB form is further divided into contrasting sections which need to be exploited tonally in a performance. The realisation is played at a tempo of 88 dotted eighth notes (quaver) to the minute and the movement needs to be played with a sense of one to a bar. The sounds of the guitar are imitated in the rolling chords played by the left hand with intervals of the fourth (as a guitar is tuned) and the repeating notes (tremolo) played by the right hand. Whilst the repetitive element is strong the sonata is imbued with modal shifts and figurations imitating Spanish music. It is essential that the right hand fingers are close to the keys and that the left hand spread chords are played percussively. Some limited use of the sustaining pedal (quick quarter pedalling) to give the left hand chords some extra resonance is recommended although no sustaining pedalling has been added in the realisation. It would be wise to listen to different performances of the sonata to understand the different approaches made by players particularly in respect to the weight applied from the hands and the range of articulations used in expressing the musical content. There is some suggested fingering in the edited music score and the sonata first needs to be practiced at slow speeds to ensure accuracy. The ornamentation is straight forward as is usually the case in fast tempo works one although there are choices in respect to the playing of appoggiaturas at the end of sections. The realisation a little rushed at the end of phrases and sections. In the hands of a gifted musician and artist with exceptional technique this can be an exhilerating and quite mesmerising piece. A plain score is also appended to the edited music score. Close

Keyboard Sonata in B minor K.87 (Plain)

This is an plain music score in that it has has some score detail to assist players in their performance and practice. A keyboard sonata of great musi Show More...

This is an plain music score in that it has has some score detail to assist players in their performance and practice. A keyboard sonata of great musical beauty and intensity conceived in four parts or voices. Whilst some use of the sustaining pedal is needed pedalling markings have not been indicated in the score. This sonata is excellent for developing the playing technique where a finger is substituted for another one whilst the note is still sounding to obtain the best legato possible. (changing finger on a note technique) A tempo of 84 quarter note (crotchet) beats to the minute is suggested. The second b in the tenor line in bar 1 is not sounded in many performances and in the realisation is represented by a silent note. When a part/voice is not sounding rests are not always written in the score and players need to be aware of this. It is sometimes very easy to have notes lasting than they should be. The combination of sampled sounds and the notation software enables a very consistent sound to be delivered in the realisation. At least there are no ornaments to worry about when playing this sonata! A sustained legato can be achieved with secure and appropriate fingering in place and it would be well worth while spending time pencilling in some options into the score. Always be prepared to edit and update the fingering choices whilst the sonata is being studied. Close

Keyboard Sonata in D minor K.32 (Edited)

This is an edited music score in that it has has some score detail to assist players in their performance and practice. A reflective keyboard sonata p Show More...

This is an edited music score in that it has has some score detail to assist players in their performance and practice. A reflective keyboard sonata played at a slow tempo and is described as an aria which is a word for song. Understandably the melody needs to be articulated as if it is being sung. The realisation does lack the flexibility of a performance and has the repeats played although it is only in the repeat section that the ornaments are sounded. The music editor suggests adopting a similar approach. The main ornament in the movement is a short trill of 4 short notes beginning on the upper note. The trill symbol has been used at the two main cadential points giving the player scope to increase the number of notes although the trill still begins on the upper note. As a piece with a slow tempo it invites some reinvention in terms of the ornamentation and it would be well worth listening to some of the available recordings to understand how to approach this aspect of a performance. It is a sonata with scope for a performer to improvise. No pedalling has been written into the score although some use of it is recommended. Many performers spread some of the chords in the left hand to imitate the strumming sound a guitar. This choice of playing the chords in this way is left to the discretion of the player. Close

Keyboard Sonata in B minor K.27 (Edited)

This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very pianistic keyboard sona Show More...

This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very pianistic keyboard sonata providing excellent opportunities for developing left hand over right hand playing technique. The work has a largely two part texture after short four part passages at the opening of the two sections. A tempo of 110 quarter note (crotchet beats) to the minutes is suggested - it is important that the chosen tempo enables the harmonic direction to be communicated. Fingers need to be kept close to the keys and little use of the sustaining pedal is advised whilst a legato playing approach is needed. There is a also more scope for developing the dynamic range than is presented in the realisation. The first page of edited music score does unfortunately look rather busy.At bar 29 note stems up are played by the right hand and note stems pointing downwards by the left hand. In a performance it it important to give shape to the motives. Close

Keyboard Sonata in D minor K.9 (Edited)

This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very beautiful and appealing Show More...

This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very beautiful and appealing movement to play and one of Domenico Scarlatti's most popular keyboard sonatas. A tempo of 80 dotted quarter note (crotchet) beats to the minute is suggested.A consistent approach in terms of tempo is recommended with possibly a slight slowing down at the approach to the cadences of the two main sections. The ornaments are realised symmetrically in the realisation without the subtlety of a performance where a piano/keyboard/harpsichord player might speed up, slow down or even hesitate during the delivery of a trill. A simple and consistent approach to the playing of ornaments is advised particularly in the early stages of learning and internalising the piece. Whilst in some ways this music has some romantic sounding features remember that it is music from the baroque era and should be approached accordingly. A successful performance of this sonata requires both control and delicacy. Tempo is a performance element that in many historical recordings is approached with a combination of indulgence and inconsistency. In bar 37 and bar 38 the ornaments are best played as acciaccatura. (crushed notes). Playing Tip: If in doubt about an ornament miss it out! Close

Keyboard Sonata in B Flat K.545 (Performance)

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A tempo of 120 half not Show More...

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A tempo of 120 half note (minim beats) to the minute is recommended for playing this movement. Imitation is a strong feature and a lightness of touch is required in the playing approach dictated essentially by the fast tempo. The music lines are rhythmically quite intricate and there is an additional challenge in achieving a satisfactory dynamic balance between the two hands. Some use of the sustaining is suggested at bar 10 and additionally when there are long bass notes although no pedal markings are indicated in the score. The playing of a rit.(slowing down) at the end of the end of the two sections does not seem appropriate in a performance. The modal shifts that feature in the melody line and the rhythmic detail suggest references to the music of Spain. The challenge in playing this keyboard sonata is to articulate clearly every note clearly at the suggested tempo. Close

Keyboard Sonata in D K.491 (Performance)

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. This is a rather grand Show More...

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

Keyboard Sonata in G K.427

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. Appended to the perform Show More...

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. Appended to the performance score is a plain score which is in place for players to use once the movement has been learnt. Look at the piece as the musical equivalent of going to the gym and perhaps play it as the last part of a warm up. Whilst the sonata should be played as fast as possible don't try and play it quickly until you can play it slowly! An even tempo is required and is an essential test of any performance. Whilst this is an excellent piece to encourage fast playing secure right and left hand fingering will need to be in place and have to be perfect! The realisation is 120 quarter note beats to the minute and use of the sustaining pedal is recommended although it is not marked on the score. The music editor suggests that anyone who can the sonata accurately at a tempo of 132 has genuine potential as a performer. The musical material is in itself not difficult: the challenge is simply playing the piece at a tempo that allows the content to come alive. There are some excellent perfomances of this sonata to explore at different tempi. As far as the the music setting is concerned, there are some different options as far as grouping and beaming of the notes. Close

Keyboard Sonata in E K.380 (Performance)

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. One of the most popular Show More...

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. 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 which has been used in the realisation. 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 symetrical 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 t patterns of the keyboard movement. Close

Keyboard Sonata in D K.178 (Performance)

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A tempo of 84 dotted qu Show More...

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A tempo of 84 dotted quarter note (crotchet) beats to the minute is recommended and is also used in the realisation. There is opportunity for both staccato and legato playing in what is a relatively short and easy keyboard sonata which is also often played on the guitar. The ornamentation comprises a short 4 note trill with a variant on featuring at the cadences at the close of the A & B sections. The repeat is not played in the realisation. The concise movement features imitative counterpoint. The performance score has suggested fingering notated above and below the notes although the the music editor is keen to hear where fingering is best placed above and below the notes in the treble and bass clefs or actually by the side of the note in the respected staves? Close

Keyboard Sonata in E K.162 (Performance)

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A sonata of contrasting Show More...

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A sonata of contrasting sections and contrasting tempi. It is a binary form sonata (AB) but each of the main sections is divided into sections of contrasting tempo and different musical content. The A section of the sonata opens with a melodic sixteen bars that features imitative counterpoint and a triplet figuration which is a strong feature of the movement as a whole. This is succeeded by a slightly faster section again quite melodic before in turn being followed by 12 bars of fast moving two part part counterpoint. The B section opens with a 20 bars of music in the same tempo which introduces some musical development anticipating some of the features found in theis part of the classical sonata. The shape of the music then returns to the character and format of the opening of the sonata closing with a fast two part section mirroring the closing of the A section. The B section as a whole is longer than the A section so the work does not have the symmetry of many of the keyboard sonatas but it does show the composer expanding or at least experimenting with the formal patterns of his music. A light keyboard touch is required and the sustaining pedal should be used at the ends of the main sections. Right and left hand fingering needs to be secure particularly in the fast sections. Close

Keyboard Sonata in C K.159 (Performance)

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. There are several Scarl Show More...

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. There are several Scarlatti keyboard sonatas in which the familiar hunting call motif is heard as in the opening bar of this sonata. The movement needs to be played with a very light touch to ensure that the suggested tempo of 104 dotted quarter note (crotchet) beats to the minute is maintained. In this concentrated and intense movement the repeats are not played in the realisation and the editor suggests that the repeats are only played when the sonata can be played comfortably. The ornamentation in the sonata is fairly straightforward as it tends to be in faster movements with acciaccaturas(crushed notes) and the four note short trill beginning on the upper note featured. However, some attention needs to be given to the choice of accidentals played in the ornaments. Bar 41 is notated using triplets for clarity. A light staccatissimo touch is needed for some of the sections and in the performance score these are all indicated by an appropriate symbol. Close

Keyboard Sonata in B minor K.27

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. Appended to this is a p Show More...

This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. Appended to this is a plain score which the performer can choose to use once the piece has been studied. This keyboard sonata provides excellent opportunities for developing left hand over right hand playing technique. The work has a largely two part texture after short four part passages at the opening of the two sections. A tempo of 110 quarter note (crotchet beats) to the minutes is suggested - it is important that the chosen tempo enables the harmonic direction to be communicated. Fingers need to be kept close to the keys and little use of the sustaining pedal is advised whilst a legato playing approach is needed. There is also more scope for developing the dynamic range than is presented in the realisation. The first page of edited music score does unfortunately look rather busy. At bar 29 note stems up are played by the right hand and note stems pointing downwards by the left hand. In a performance it it important to give shape to the motives. Close

Keyboard Sonata in C minor K.11 (Plain))

A keyboard sonata that needs to be played with delicacy and both a lightness and clarity of touch. A tempo of 76 quarter note (crotchet) beats to the Show More...

A keyboard sonata that needs to be played with delicacy and both a lightness and clarity of touch. A tempo of 76 quarter note (crotchet) beats to the minute is recommended - the sonata should not be played too quickly as it loses its intimacy. Legato playing is required and the performance score has detailed suggested right and left hand fingering. The crossing of hands is also a feature requiring attention to the balance of the dynamics. The bar 20 trill has two options written in the score as to how it can be played. Whilst slowing down at the end of the main sections is appropriate this should not be exaggerated or start too soon. Close

Keyboard Sonata in D minor K.9 (Realisation)

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what Show More...

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what you see is what you hear) version often in a reduced format. A very beautiful and appealing movement to play and one of Domenico Scarlatti's most popular keyboard sonatas. A tempo of 80 dotted quarter note (crotchet) beats to the minute is suggested. A consistent approach in terms of tempo is recommended with possibly a slight slowing down at the approach to the cadences of the two main sections. The ornaments are realised symmetrically in the realisation without the subtlety of a performance where a piano/keyboard/harpsichord player might speed up, slow down or even hesitate during the delivery of a trill. A simple and consistent approach to the playing of ornaments is advised particularly in the early stages of learning and internalising the piece. Whilst in some ways this music has some romantic sounding features remember that it is music from the baroque era and should be approached accordingly. A successful performance of this sonata requires both control and delicacy. Tempo is a performance element that in many historical recordings is approached with a combination of indulgence and inconsistency. In bar 37 and bar 38 the ornaments are best played as acciaccatura. (crushed notes). Playing Tip: If in doubt about an ornament miss it out! Close

Keyboard Sonata in C minor K.11 (Realisation)

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what Show More...

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what you see is what you hear) version often in a reduced format. A keyboard sonata that needs to be played with delicacy and both a lightness and clarity of touch. A tempo of 76 quarter note (crotchet) beats to the minute is recommended - the sonata should not be played too quickly as it loses its intimacy. Legato playing is required and the performance score has detailed suggested right and left hand fingering. The crossing of hands is also a feature requiring attention to the balance of the dynamics. The bar 20 trill has two options written in the score as to how it can be played. Whilst slowing down at the end of the main sections is appropriate this should not be exaggerated or start too soon. Close

Keyboard Sonata in D minor K.32 (Realisation)

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wha Show More...

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (what you see is what you hear) version often in a reduced format. This is a reflective keyboard sonata played at a slow tempo and is described as an aria which is a word for song. Understandably the melody needs to be articulated as if it is being sung. The realisation does lack the flexibility of a performance and has the repeats played although it is only in the repeat section that the ornaments are sounded. I would suggest in the early stages of learning the piece that a player adopts a similar approach. Understand that the main ornament in the movement is a short trill of 4 short notes beginning on the upper note. The trill symbol has been used at the two main cadential points giving the player scope to increase the number of notes although the trill still begins on the upper note. As a piece with a slow tempo it invites some reinvention in terms of the ornamentation and it would be well worth listening to some of the available recordings to understand how to approach this aspect of a performance. It is a sonata with scope for a performer to improvise. No pedalling has been written into the score although some use of it is recommended. Many performers spread some of the chords in the left hand to imitate the strumming sound a guitar. This choice of playing the chords iin this way is left to the discretion of the player. Close

Keyboard Sonata in D K.178 (Realisation)

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wha Show More...

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (what you see is what you hear) version often in a reduced format. A tempo of 84 dotted quarter note (crotchet) beats to the minute is recommended and is also used in the realisation.There is opportunity for both staccato and legato playing in what is a relatively short and easy keyboard sonata which is also often played on the guitar. The ornamentation comprises a short 4 note trill with a variant on featuring at the cadences at the close of the A & B sections. The repeat is not played in the realisation. The concise movement features imitative counterpoint. The performance score has suggested fingering notated above and below the notes although the the music editor is keen to hear where fingering is best placed – above and below the notes in the treble and bass clefs or actually by the side of the note in the respected staves? Close

Keyboard Sonata in A K.208 (Realisation)

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what Show More...

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what you see is what you hear) version often in a reduced format. The melody of this keyboard sonata needs to be played with clarity and a lightness of touch with little use of the sustaining pedal at a secure and steady tempo. A tempo of 60 quarter note (crotchet) beats to the minute is used in the realisation and the repeats are not played. A slow tempo requires a very concentrated approach but does allow much more freedom in terms of the number of notes that can be played in a trill. In a slow movement it is often easier to play more notes in a trill to keep a more balanced rhythmic shape. The left hand chord on beat 4 of bar 13 could be spread although this is not marked in the score. The scores presented by many publishers are actually quite inaccurate particularly in respect to the rhythmic detail at the approaches to the important cadence points. There is the option of considering different and additional ornaments in the repeat playing of the two sections. I would suggest listening to some of the many recordings available of this work to decide on how you might play this work. The music editor found that once the piece had been learnt and was played with discipline it became much easier to play the ornaments with the spontaneity and freedom needed that is needed. Attention needs to be paid to the accidentals. It is very easy to play a wrong note. Best advice the playing of an ornament ultimately comes down to personal preference based on knowledge/familiarity of the musical style and works of the composer. Accept the fact that you may well change your opinion on how an ornament is played based on a “gathering information” approach. Ornaments need to be played on a musical basis rather than an academic one where the latter may end up as simply being an interpretation of mis-understood rules. Performance practice adds a complication in that changing times quite often results in different approaches and interpretations. Close

Keyboard Sonata in A K.322 (Realisation)

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what Show More...

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what you see is what you hear) version often in a reduced format. One of Scarlatti's easier keyboard sonatas but nevertheless one that offers plenty of musical and interpretative challenges to the player. It is essentially a two part movement. A tempo of 90 half note beats to the minute is used in the realisation with the repeats not being played. This music needs to be played rhythmically with energy and little use of the sustaining pedal although it can be used in the closing bars of the A and B sections. This is an excellent movement for developing a skill set in terms of being able to articulate the playing of a melody line with a range of articulations - legato, staccato, tenuto etc. Whilst many performers rit. (slow down) at the end of the A and B sections even though they are then repeated the music editor doesn't recommend this . This sonata like many other Scarlatti works is excellent for developing interpretative skills and performance experience. Varying and adding to the ornamentation in the repeats is an option. Many very competent pianists play this relatively easy sonata and some performers add quite a deal of additional music to the to the texture which is not always in keeping with the style and simplicity of the piece. Nevertheless, it does educate modern players in being aware that in Scarlatti's time improvisation was a relevant aspect of performance practice. Close

Keyboard Sonata in E K.380 (Realisation)

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wha Show More...

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (what you see is what you hear) version often presented in a reduced format. This is on 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 and this has been used in the realisation. 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

Keyboard Sonata in D K.443 (Realisation)

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wha Show More...

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (what you see is what you hear) version often in a reduced format. A tempo of 48 half notes (minim) beats to the minute is suggested. As a slow movement there are many interpretations as to how the ornaments are played and the music editor suggests that it would be worthwhile to spend some time listening to recordings of this sonata. Please observe that only the first two notes of four note ornaments have the fingering notated. Remember that the trill and the mordent sign mean essentially the same – if the ornament is cadential then it is likely and possible to have more notes with the tr sign is used.There is also scope for the confident player to add aditional ornaments particularly in the playing of the repeats. There are other solutions to playing the ornaments but the ones suggested here keep very much to contemporary performance practice. Appoggiaturas (leaning notes) and acciaccaturas (crushed notes) in slow tempo works do presents a challenge as far as the interpretation and function. Music editors do tend to show evidence of an “over” understanding the interpretation of the ornaments. The best advice is to keep it simple, familiar and current – interpret the best of modern performance practice.The realisation is limited in respect to its interpretation of the score and the repeats are not played. Not too much use sustaining pedal is recommended and a rit. (slowing down) at the end of the two main sections is appropriate. The triplet motive introduced in bar 9 is indicated in the score for a couple of bars and then the symbol is omitted as is the case is conventional music setting. The music in this keyboard sonata possesses beauty and presence and the work should be played with delicacy and clarity. The interpretative qualities of a performance need to perhaps demonstrate more flexible than the realisation and limited use of the sustaining pedal is appropriate particularly at the end of sections. Close

Keyboard Sonata in F min K.481 (Realisation)

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is intended as guide for Show More...

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is intended as guide for those preparing their own music scores in a digital format. Teachers might also find these scores useful in preparing work tasks for their students based on the plain scores. A realisation score is simply a WYSIWYH (what you see is what you hear) version often in a reduced format. A tempo of 48 half notes (minim) beats to the minute is suggested. As a slow movement there are many interpretations as to how the ornaments are played and the music editor suggests that it would be worthwhile to spend some time listening to recordings of this sonata. Observe that only the first two notes of four note ornaments have the fingering notated. Remember that the trill and the mordent sign mean essentially the same whilst if the ornament is cadential then it is likely and possible to have more notes with the tr sign used. There is also scope for the confident player to add additional ornaments particularly in the playing of the repeats. There are other solutions to playing the ornaments but the ones suggested here keep very much to contemporary performance practice. Appoggiaturas (leaning notes) and acciaccaturas (crushed notes) in slow tempo works do presents a challenge as far as the interpretation and function. Music editors do tend to show evidence of an over understanding the interpretation of the ornaments. The best advice is to keep it simple, familiar and current interpreting the best of modern performance practice.The realisation is limited in respect to its interpretation of the score and the repeats are not played. Not too much use sustaining pedal is recommended and a rit. (slowing down) at the end of the two main sections is appropriate. The triplet motive introduced in bar 9 is indicated in the score for a couple of bars and then the symbol is omitted as is the case is conventional music setting. The music in this keyboard sonata possesses beauty and presence and the work should be played with delicacy and clarity. The interpretative qualities of a performance need to perhaps demonstrate more flexible than the realisation and limited use of the sustaining pedal is appropriate particularly at the end of sections. Close

Keyboard Sonata in D K.491 (Realisation)

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wh Show More...

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

Keyboard Sonata in F minor K.519 (Realisation)

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wha Show More...

The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (what you see is what you hear) version often in a reduced format. The sonata needs to be played with a one in a bar feel. A tempo of 96 dotted quarter notes (crotchets) is used in the realisation. Ornaments need to have a clear rhythmic shape with the main ornament being the 4 note mordent beginning on the upper note. There is no consistency amongst performers in terms of when and how the ornaments are played in many of Scarlatti sonatas and the same is true of this one. The additional ornaments that features in the inner parts of bars 97, 101, 105, 108, 112 and 116 maybe omitted particularly when learning the sonata. It is probably best to avoid playing the repeats when learning this piece and many Scarlatti sonatas are in fact performed without all the repeats being played. Changing the finger used on a repeating note is a technique that can be applied in the left hand. A very light touch is required to play the movement at a tempo which allows the intensity of the music to come alive. There are times when the left hand is playing staccato and the right hand legato and other times when both hands are playing staccato. Whilst texturally quite straight forward this is a demanding sonata to play requiring a secure technique, control with the fingers close to the keys. Close

Keyboard Sonata in A K.208

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. The melody of th 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. The melody of this keyboard sonata needs to be played with clarity and a lightness of touch with little use of the sustaining pedal at a secure and steady tempo. A tempo of 60 quarter note (crotchet) beats to the minute is used in the realisation and the repeats are not played. A slow tempo requires a very concentrated approach but does allow much more freedom in terms of the number of notes that can be played in a trill. In a slow movement it is often easier to play more notes in a trill to keep a more balanced rhythmic shape. The left hand chord on beat 4 of bar 13 could be spread although this is not marked in the score. The scores presented by many publishers are actually quite inaccurate particularly in respect to the rhythmic detail at the approaches to the important cadence points. There is the option of considering different and additional ornaments in the repeat playing of the two sections. I would suggest listening to some of the many recordings available of this work to decide on how you might play this work. The music editor found that once the piece had been learnt and was played with discipline it became much easier to play the ornaments with the spontaneity and freedom needed that is needed. Attention needs to be paid to the accidentals. It is very easy to play a wrong note. Best advice the playing of an ornament ultimately comes down to personal preference based on knowledge/familiarity of the musical style and works of the composer. Accept the fact that you may well change your opinion on how an ornament is played based on a "gathering information" approach. Ornaments need to be played on a musical basis rather than an academic one where the latter may end up as simply being an interpretation of mis-understood rules. Performance practice adds a complication in that changing times quite often results in different approaches and interpretations. Close

Keyboard Sonata in B Flat K.545

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A tempo of 120 h 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. A tempo of 120 half note (minim beats) to the minute is recommended for playing this movement. Imitation is a strong feature and a lightness of touch is required in the playing approach dictated essentially by the fast tempo. The music lines are rhythmically quite intricate and there is an additional challenge in achieving a satisfactory dynamic balance between the two hands. Some use of the sustaining is suggested at bar 10 and additionally when there are long bass notes although no pedal markings are indicated in the score. The playing of a rit.(slowing down) at the end of the end of the two sections does not seem appropriate in a performance. The modal shifts that feature in the melody line and the rhythmic detail suggests references to the music of Spain. The challenge in playing this keyboard sonata is to articulate every note clearly at the suggested tempo. Close

Keyboard Sonata in F minor K.519

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. The sonata needs 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. The sonata needs to be played with a one in a bar feel. A tempo of 96 dotted quarter notes (crotchets) is used in the realisation. Ornaments need to have a clear rhythmic shape with the main ornament being the 4 note mordent beginning on the upper note. There is no consistency amongst performers in terms of when and how the ornaments are played in many of Scarlatti sonatas and the same is true of this one. The additional ornaments that features in the inner parts of bars 97, 101, 105, 108, 112 and 116 maybe omitted particularly when learning the sonata. It is probably best to avoid playing the repeats when learning this piece and many Scarlatti sonatas are in fact performed without all the repeats being played. Changing the finger used on a repeating note is a technique that can be applied in the left hand. A very light touch is required to play the movement at a tempo which allows the intensity of the music to come alive. There are times when the left hand is playing staccato and the right hand legato and other times when both hands are playing staccato. Whilst texturally quite straight forward this is a demanding sonata to play requiring a secure technique, control with the fingers close to the keys. Close

Keyboard Sonata in D K.491

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

Keyboard Sonata in F minor K.481

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A tempo of 48 ha 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. A tempo of 48 half notes (minim) beats to the minute is suggested. As a slow movement there are many interpretations as to how the ornaments are played and the music editor suggests that it would be worthwhile to spend some time listening to recordings of this sonata. Remember that the trill and the mordent sign mean essentially the same. If the ornament is cadential then it is likely and possible to have more notes with the tr sign in use. There is also scope for the confident player to add additional ornaments particularly in the playing of the repeats. There are other solutions to playing the ornaments but the ones suggested here keep very much to contemporary performance practice. Appoggiaturas (leaning notes) and acciaccaturas (crushed notes) in slow tempo works do presents a challenge as far as the interpretation and function. Music editors do tend to show evidence of an over understanding the interpretation of the ornaments. The best advice is to keep it simple, familiar and current. The realisation is limited in respect to its interpretation of the score and the repeats are not played. Not too much use sustaining pedal is recommended and a rit. (slowing down) at the end of the two main sections is appropriate. The triplet motive introduced in bar 9 is indicated in the score for a couple of bars and then the symbol is omitted as is the case is conventional music setting. The music in this keyboard sonata possesses beauty and presence and the work should be played with delicacy and clarity. The interpretative qualities of a performance need to perhaps be more flexible than the realisation and limited use of the sustaining pedal is appropriate particularly at the end of sections. Close

Keyboard Sonata in D K.443

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A very appealing 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. A very appealing keyboard sonata although there are surprisingly not many recordings of the sonata available. Whilst the composers style is in evidence it is also a work in which a variety of moods are explored. A tempo of 96 half note (mimim) beats to the minute is suggested and used in the realisation. It is a sonata allowing the player to explore options in legato and staccato keyboard articulations. Interestingly there are interpretations in which the performers improvise around the shapes offering rhythmic variants and something more than just additional ornaments. In the ornamentation particularly at cadences there is a script but there is a tendency for some performers to become very individual and possibly rather extreme! Close

Keyboard Sonata in G K.427

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. Look at the piec 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. Look at the piece as the musical equivalent of going to the gym and perhaps play it as the last part of a warm up. Whilst the sonata should be played as fast as possible don't try and play it quickly until you can play it slowly! An even tempo is required and is an essential test of any performance. Whilst this is an excellent piece to encourage fast playing secure right and left hand fingering will need to be in place and have to be perfect! The realisation is 120 quarter note beats to the minute and use of the sustaining pedal is recommended although it is not marked on the score. I would suggest anyone who can the sonata accurately at a tempo of 132 has genuine potential as a performer. The musical material is in itself not difficult: the challenge is simply playing the piece at a tempo that allows the content to come alive. There are some excellent perfomances of this sonata to explore at different tempi. As far as the the music setting is concerned, there are some different options as far as grouping and beaming of the notes. Close

Keyboard Sonata in E K.380

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

Keyboard Sonata in A K.322

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 Scarlatti 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 Scarlatti's easier keyboard sonatas but nevertheless one that offers plenty of musical and interpretative challenges to the player. It is essentially a two part movement. A tempo of 90 half note beats to the minute is used in the realisation with the repeats not being played. This music needs to be played rhythmically with energy and little use of the sustaining pedal although it can be used in the closing bars of the A and B sections. This is an excellent movement for developing a skill set in terms of being able to articulate the playing of a melody line with a range of articulations - legato, staccato, tenuto etc. Whilst many performers rit. (slow down) at the end of the A and B sections even though they are then repeated the music editor doesn't recommend this . This sonata like many other Scarlatti works is excellent for developing interpretative skills and performance experience. Varying and adding to the ornamentation in the repeats is an option. Many very competent pianists play this relatively easy sonata and some performers add quite a deal of additional music to the to the texture which is not always in keeping with the style and simplicity of the piece. Nevertheless, it does educate modern players in being aware that in Scarlatti's time improvisation was a relevant aspect of performance practice. Close

Keyboard Sonata in D K.178

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A tempo of 84 do 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. A tempo of 84 dotted quarter note (crotchet) beats to the minute is recommended and is also used in the realisation.There is opportunity for both staccato and legato playing in what is a relatively short and easy keyboard sonata which is also often played on the guitar. The ornamentation comprises a short 4 note trill with a variant on featuring at the cadences at the close of the A & B sections. The repeat is not played in the realisation. The concise movement features imitative counterpoint. The performance score has suggested fingering notated above and below the notes although the the music editor is keen to hear where fingering is best placed – above and below the notes in the treble and bass clefs or actually by the side of the note in the respected staves? Close

Keyboard Sonata in E K.162

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A sonata of cont 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. A sonata of contrasting sections and contrasting tempi. It is a binary form sonata (AB) but each of the main sections is divided into sections of contrasting tempo and different musical content. The A section of the sonata opens with a melodic sixteen bars that features imitative counterpoint and a triplet figuration which is a strong feature of the movement as a whole. This is succeeded by a slightly faster section again quite melodic before in turn being followed by 12 bars of fast moving two part part counterpoint. The B section opens with a 20 bars of music in the same tempo which introduces some musical development anticipating some of the features found in theis part of the classical sonata. The shape of the music then returns to the character and format of the opening of the sonata closing with a fast two part section mirroring the closing of the A section. The B section as a whole is longer than the A section so the work does not have the symmetry of many of the keyboard sonatas but it does show the composer expanding or at least experimenting with the formal patterns of his music. A light keyboard touch is required and the sustaining pedal should be used at the ends of the main sections. Right and left hand fingering needs to be secure particularly in the fast sections. Close

Keyboard Sonata in C K.159

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. There are severa 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. There are several Scarlatti keyboard sonatas in which the familiar hunting call motif is heard as in the opening bar of this sonata. The movement needs to be played with a very light touch to ensure that the suggested tempo of 104 dotted quarter note (crotchet) beats to the minute is maintained. In this concentrated and intense movement the repeats are not played in the realisation and the editor suggests that the repeats are only played when the sonata can be played comfortably. The ornamentation in the sonata is fairly straightforward as it tends to be in faster movements with acciaccaturas (crushed notes) and the four note short trill beginning on the upper note featured. However, some attention needs to be given to the choice of accidentals played in the ornamentas. Bar 41 is notated using triplets for clarity. A light staccatissimo touch is needed for some of the sections and in the performance score these are all indicated by appropriate symbols. Close

Keyboard Sonata in A minor K.141 (Plain)

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A familiar AB bi 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. A familiar AB binary movement described as a toccata which originally intended as tuning pieces although in time they became formalised into movements aimed at developing keyboard technique. Each part of the AB form is further divided into contrasting sections which need to be exploited tonally in a performance. The realisation is played at a tempo of 88 dotted eighth notes (quaver) to the minute and the movement needs to be played with a sense of one to a bar. The sounds of the guitar are imitated in the rolling chords played by the left hand with intervals of the fourth (as a guitar is tuned) and the repeating notes (tremolo) played by the right hand. Whilst the repetitive element is strong the sonata is imbued with modal shifts and figurations imitating Spanish music. It is essential that the right hand fingers are close to the keys and that the left hand spread chords are played percussively. Some limited use of the sustaining pedal (quick quarter pedalling ) to give the left hand chords some extra resonance is recommended although no sustaining pedalling has been added in the realisation. It would be wise to listen to different performances of the sonata to understand the different approaches made by players particularly in respect to the weight applied from the hands and the range of articulations used in expressing the musical content. There is some suggested fingering in the edited music score and the sonata first needs to be practiced at slow speeds to ensure accuracy. The ornamentation is straight forward as is usually the case in fast tempo works one although there are choices in respect to the playing of appoggiaturas at the end of sections. The realisation a little rushed at the end of phrases and sections. In the hands of a gifted musician and artist with exceptional technique this can be an exhilerating and quite mesmerising piece. Close

Keyboard Sonata in B minor K.87

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A keyboard sonat 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. A keyboard sonata of great musical beauty and intensity conceived in four parts or voices. Whilst some use of the sustaining pedal is needed pedalling markings have not been indicated in the score. This sonata is excellent for developing the playing technique where a finger is substituted for another one whilst the note is still sounding to obtain the best legato possible. (changing finger on a note technique) A tempo of 84 quarter note (crotchet) beats to the minute is suggested. The second b in the tenor line in bar 1 is not sounded in many performances and in the realisation is represented by a silent note. When a part/voice is not sounding rests are not always written in the score and players need to be aware of this. It is sometimes very easy to have notes lasting than they should be. The combination of sampled sounds and the notation software enables a very consistent sound to be delivered in the realisation. At least there are no ornaments to worry about when playing this sonata! A sustained legato can be achieved with secure and appropriate fingering in place and it would be well worth while spending time pencilling in some options into the score. Always be prepared to edit and update the fingering choices whilst the sonata is being studied. Close

Keyboard Sonata in D minor K.32

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. This is a reflec 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. This is a reflective keyboard sonata played at a slow tempo and is described as an aria which is a word for song. Understandably the melody needs to be articulated as if it is being sung. The realisation does lack the flexibility of a performance and has the repeats played although it is only in the repeat section that the ornaments are sounded. I would suggest in the early stages of learning the piece that a player adopts a similar approach. Understand that the main ornament in the movement is a short trill of 4 short notes beginning on the upper note. The trill symbol has been used at the two main cadential points giving the player scope to increase the number of notes although the trill still begins on the upper note. As a piece with a slow tempo it invites some reinvention in terms of the ornamentation and it would be well worth listening to some of the available recordings to understand how to approach this aspect of a performance. It is a sonata with scope for a performer to improvise. No pedalling has been written into the score although some use of it is recommended. Many performers spread some of the chords in the left hand to imitate the strumming sound a guitar. This choice of playing the chords iin this way is left to the discretion of the player. Close

Keyboard Sonata K.27

This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A very pianistic 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. A very pianistic keyboard sonata providing excellent opportunities for developing left hand over right hand playing technique. The work has a largely two part texture after short four part passages at the opening of the two sections. A tempo of 110 quarter note (crotchet beats) to the minutes is suggested – it is important that the chosen tempo enables the harmonic direction to be communicated. Fingers need to be kept close to the keys and little use of the sustaining pedal is advised whilst a legato playing approach is needed. There is a also more scope for developing the dynamic range than is presented in the realisation. The first page of edited music score does unfortunately look rather on the busy side. At bar 29 note stems up are played by the right hand and note stems pointing downwards by the left hand. In a performance it it important to give shape to the motives. Close

Keyboard Sonata in C minor K.11

This is a plain score version in that it has minimal score detail characteristic of music printed from this era. A keyboard sonata that needs to be pl Show More...

This is a plain score version in that it has minimal score detail characteristic of music printed from this era. A keyboard sonata that needs to be played with delicacy and both a lightness and clarity of touch. A tempo of 76 quarter note (crotchet) beats to the minute is recommended - the sonata should not be played too quickly as it loses its intimacy. Legato playing is required and the performance score has detailed suggested right and left hand fingering. The crossing of hands is also a feature requiring attention to the balance of the dynamics. The bar 20 trill has two options written in the score as to how it can be played. Whilst slowing down at the end of the main sections is appropriate this should not be exaggerated or start too soon. Close

Keyboard Sonata in D minor K.9

This is a plain score version in that it has minimal detail which is characteristic of music printed from this era. A very beautiful and appealing mo Show More...

This is a plain score version in that it has minimal detail which is characteristic of music printed from this era. A very beautiful and appealing movement to play and one of Domenico Scarlatti’s most popular keyboard sonatas. A tempo of 80 dotted quarter note (crotchet) beats to the minute is suggested.A consistent approach in terms of tempo is recommended with possibly a slight slowing down at the approach to the cadences of the two main sections. The ornaments are realised symmetrically in the realisation without the subtlety of a performance where a piano/keyboard/harpsichord player might speed up, slow down or even hesitate during the delivery of a trill. A simple and consistent approach to the playing of ornaments is advised particularly in the early stages of learning and internalising the piece. Whilst in some ways this music has some romantic sounding features remember that it is music from the baroque era and should be approached accordingly. A successful performance of this sonata requires both control and delicacy. Tempo is a performance element that in many historical recordings is approached with a combination of indulgence and inconsistency. In bar 37 and bar 38 the ornaments are best played as acciaccatura. (crushed notes). Playing Tip: If in doubt about an ornament miss it out! Close

Keyboard Sonata in D minor K.1

This is a plain score version in that it has minimal score detail chararcteristic of scores from this period in music history. A two part (AB) movemen Show More...

This is a plain score version in that it has minimal score detail chararcteristic of scores from this period in music history. A two part (AB) movement with essentially a two part texture. The imitatative counterpoint that features in this movement demands a combination of accuracy with a lightness of touch. A tempo of 110 quarter note (crotchet beats) to the minute is suggested and used in the realisation although the repeats are not played. A light staccatissimo touch is suggested and there should be minimal use of the sustaining pedal. Staccatissimo playing on the piano is a technique whereby the fingers imitate a plucking approach to the playing of the keys. Staccatissimo notes when they are played are indicated throughout the score. It is important that the left hand is held above the right hand in bars 7/8, bar 11 and bar 17 to enable the notes to be correctly articulated. Ornaments start on the upper note and in fast tempo works are best played simply and rhythmically. The Bar 3 ornament can be 4 or 8 notes – I would suggest starting with 4. There is great symmetry in the Scarlatti keyboard sonatas and formally they are very balanced works. Ornamentation should in the editor’s view reflect these characteristics. Playing Tip: If your fingers don’t have time to play the ornaments when learning the piece leave them out and add them at a later stage. Close

Keyboard Sonata in D minor K.1 (Performance)

The performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. The ornaments as played Show More...

The performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. The ornaments as played in the realisation are also written out in full. A two part (AB) movement with essentially a two part texture. The imitatative counterpoint that features in this movement demands a combination of accuracy with a lightness of touch. A tempo of 110 quarter note (crotchet beats) to the minute is suggested and used in the realisation although the repeats are not played. A light staccatissimo touch is suggested and there should be minimal use of the sustaining pedal. Staccatissimo playing on the piano is a technique whereby the fingers imitate a plucking approach to the playing of the keys. Staccatissimo notes when they are played are indicated throughout the score. It is important that the left hand is held above the right hand in bars 7/8, bar 11 and bar 17 to enable the notes to be correctly articulated. Ornaments start on the upper note and in fast tempo works are best played simply and rhythmically. The Bar 3 ornament can be 4 or 8 notes - the music editor suggests starting with 4. There is great symmetry in the Scarlatti keyboard sonatas and formally they are very balanced works. Ornamentation should in the editor's view reflect these characteristics. Playing Tip: If your fingers don't have time to play the ornaments when learning the piece leave them out and add them at a later stage. Close

Keyboard Sonata in G minor K.8

This is an edited music score in that it has some score detail to assist players in performing the sonata. It is very easy to be tempted to play this Show More...

This is an edited music score in that it has some score detail to assist players in performing the sonata. It is very easy to be tempted to play this keyboard sonata too heavily - remember that the music of Scarlatti originates on the harpsichord which requires a lighter touch than the piano. To perform this sonata it is important to understand both the texture and voicing. There are four lines or voices and each needs to be articulated with sensitivity and awareness of the others. Whilst all the lines are important the top line is the one that will most impress on the listener. Understand that when a particular voice is not sounding rests may or may not be written in the score. In a performance of this sonata careful attention also needs to be paid to the reading and playing of the tied notes. A tempo of 60 quarter note beats to the minute is suggested and from the playing point of view it is an excellent piece for developing changing the finger on a note technique which is necessary to achieve a legato particularly in the top line. The right hand is required to play some notes written in the bass clef particularly towards the end of the first section although players should be able to work out the suggestions with the bracket signs and indicated fingering. Remember: In music of the baroque period once the rhythmic pattern of the opening bars has been established it is generally maintained throughout the movement. A dot after a note can mean slightly different things rhythmically in different musical styles. Playing Tip: Understand the musical texture that you are playing. Close

Keyboard Sonata in G minor K.8 (plain score)

This is a plain score version in that it has minimal score detail characteristic of scores from this period in music history. It is very easy to be te Show More...

This is a plain score version in that it has minimal score detail characteristic of scores from this period in music history. It is very easy to be tempted to play this keyboard sonata too heavily - remember that Scarlatti's music originates on the harpsichord which requires a lighter touch than the piano. To perform this sonata it is important to understand both the texture and voicing. There are four lines or voices and each needs to be articulated with sensitivity and awareness of the others. Whilst all the lines are important the top line is the one that will most impress on the listener. Understand that when a particular voice is not sounding rests may or may not be written in the score. In a performance of this sonata careful attention also needs to be paid to the reading and playing of the tied notes. A tempo of 60 quarter note beats to the minute is suggested and from the playing point of view it is an excellent piece for developing changing the finger on a note technique which is necessary to achieve a legato particularly in the top line. The right hand is required to play some notes written in the bass clef particularly towards the end of the first section although players should be able to work out the suggestions with the bracket signs and indicated fingering. Remember: In music of the baroque period once the rhythmic pattern of the opening bars has been established it is generally maintained throughout the movement. A dot after a note can mean slightly different things rhythmically in different musical styles. Playing Tip: Understand the musical texture that you are playing Close

Keyboard Sonata in G minor K.8 (Performance)

The performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. It is very easy to be te Show More...

The performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. It is very easy to be tempted to play this keyboard sonata too heavily - remember that Scarlatti's music originates on the harpsichord which requires a lighter touch than the piano. To perform this sonata it is important to understand both the texture and voicing. There are four lines or voices and each needs to be articulated with sensitivity and awareness of the others. Whilst all the lines are important the top line is the one that will most impress on the listener. Understand that when a particular voice is not sounding rests may or may not be written in the score. In a performance of this sonata careful attention also needs to be paid to the reading and playing of the tied notes. A tempo of 60 quarter note beats to the minute is suggested and from the playing point of view it is an excellent piece for developing changing the finger on a note technique which is necessary to achieve a legato particularly in the top line. The right hand is required to play some notes written in the bass clef particularly towards the end of the first section although players should be able to work out the suggestions with the bracket signs and indicated fingering. Remember: In music of the baroque period once the rhythmic pattern of the opening bars has been established it is generally maintained throughout the movement. A dot after a note can mean slightly different things rhythmically in different musical styles. Playing Tip: Understand the musical texture that you are playing Close

Rondo from Piano Sonata No.8 in C minor Opus 13 (Sonata Pathetique)

A rondo is a piece with a recurring theme and is a form much used by Beethoven particularly as the last movement in a sonata. This is lovely pianistic Show More...

A rondo is a piece with a recurring theme and is a form much used by Beethoven particularly as the last movement in a sonata. This is lovely pianistic movement and is from one of the composers most popular works (Sonata Pathetique) and the music editor suggests listening to a selection if the many available recordings. The tempo of the realisation is 96 half note (minim) beats to the minute. Trills beginning on the note and have been written out in the score copy. Beethoven in music history is a transition figure linking the classical era with the romantic. The dramatic quality of this music requires a competent and secure piano technique and players should make use of the sustaining pedal although it has not been marked in the score copy. On a modern piano the marking fp is possibly more suitable than sf and has been substituted when it has been considered to be more appropriate. Close

The Little Shepherd arr. oboe and piano

The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to thos Show More...

The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to those encountered in his more complex works. His music whilst often sounding simple is always challenging from a performance point of view and there are many aspects of performance to consider when playing his music - namely attention to rhythmic detail, tempo, dynamic range, use of pedals, interpretation of ornaments, amongst others. This arrangement for oboe with piano accompaniment is of the fifth movement of the piano suite published in 1908. The suite dedicated to the composer's daughter Chou-Chou has score detail in French and an English title which was possibly chosen to reflect that an English governess was employed to look after his child. The realisation which communicates the musical content satisfactorily does lack fluidity in repect to tempo. Debussy's sound world is individual and while he was not someone who followed musical convention, he, more than any other composer at the end of the 19th century pushed open the door to absorb new musical influences. I would recommend listening to several performances of the work to gain an understanding of how best to approach a performance. Close

The Little Shepherd (Children\'s Corner Suite)

The Little Shepherd from Debussy's Children's Corner Suite" is one of the composer's easier pieces although it does offer similar challenges to thos Show More...

The Little Shepherd from Debussy's Children's Corner Suite" is one of the composer's easier pieces although it does offer similar challenges to those encountered in his more complex works. His music whilst often sounding simple is always challenging from a performance point of view and there are many aspects of performance to consider when playing his music - namely attention to rhythmic detail, tempo, dynamic range, use of pedals, interpretation of ornaments, amongst others. The piano suite was published in 1908 and is dedicated to the composer's daughter Chou-Chou and whilst the score detail is in French, the choice of English titles was chosen to possibly reflect that an English governess was employed to look after his child. The realisation which communicates the musical content satisfactorily does lack fluidity in repect to tempo. Debussy's sound world is individual and while he was not someone who followed musical convention, he, more than any other composer at the end of the 19th century pushed open the door to absorb the new musical influences of the 20th century. The music editor suggests istening to several performances of the work to gain an understanding of how best to approach a performance. Close

Finale | Piano Sonata No.5 in C minor Opus 10 No.1

This work dates from 1798 and is identified with Beethoven's so called early period and is the third movement of his Sonata No. 5 in C minor Opus 10 N Show More...

This work dates from 1798 and is identified with Beethoven's so called early period and is the third movement of his Sonata No. 5 in C minor Opus 10 No.1. It is the most difficult work to be included in this area of study and has been chosen because it is an example of a sonata form work. It is, however, a very concise movement especially when compared to the sonata form movements of the composers so called middle and late periods. Nevertheless, it demonstrates the essential features of his compositional style and has many of the challenges that arise in performing his music from both technical and musical points of view. In contemporary music performance practice the first section expositions are generally not repeated and I would advise against too much use of the sustaining pedal. It is necessary to understand that exploring the principle of contrast was an essential feature of music composed in the classical era in terms of themes and keys very often in the context of a sonata form movement. The realisation does lack the flexibility and nuance associated with a true performance particularly at the ends of phrases and possibly more could be made of the pause marks. The score copy has recommended fingering. Close

Finale | Piano Sonata in D Hob XVI:37

This is the last movement of Haydn's Piano Sonata in D (Hob XVI:37). It is in rondo form (ABACA) with each section in binary form. The repeat signs in Show More...

This is the last movement of Haydn's Piano Sonata in D (Hob XVI:37). It is in rondo form (ABACA) with each section in binary form. The repeat signs in the sections bar 40 - 60 are optional. Ornaments have been written out in the score and are realised in the sound file and a tempo of at least 132 quarter note beats to the minute is recommended. Fingering is clearly specified and in the first instance I would suggest a consistent approach to playing the ornaments. A fairly dry acoustic is required and I would advise against too much use of the sustaining pedal. A convincing performance requires a light pianistic touch with the fingers kept really close to the piano keys. There is a a decrescendo at bar 90 but no rit. or slowing down. Sometimes the numbering of Haydn's keyboard sonatas appears confused but always refer to the Hoboken catalogue number for clarity. I would suggest listening to performances of this movement by some of the many excellent pianist that have made recordings. Close

Twinkle, Twinkle Little Star arr. piano/keyboard

A very familiar melody used to introduce some of the elements of classical music performance in two part playing. This beginner version has clear inst Show More...

A very familiar melody used to introduce some of the elements of classical music performance in two part playing. This beginner version has clear instructions and introduces scale playing in a resource intended to be used in group teaching situations. Close

Twinkle, Twinkle Little Star arr. piano/keyboard

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This beginner arrang Show More...

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This beginner arrangement has a graphic showing the layout of a keyboard and easy to ready representations of the chords to be played. Fingering is clearly specified for playing the melody and the letter names of the notes appear in the note heads. Close

Escovado (piano original)

This is the piano version composed in 1905 and dedicated to the composer's younger brother. A tempo in the range of 84-90 quarter note (crotchet) bea Show More...

This is the piano version composed in 1905 and dedicated to the composer's younger brother. A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended. 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. The clarity of line in his musical textures is a strong feature of his compositional style. The title, Escovado, is a common slang term which means smart or cunning and it became one of the composer's best known works. Close

Cakewalk (Children’s Corner Suite)

The rhythmic template used in this movement is based on a familiar and popular dance rhythm of Debussy's time. Musical ideas need to be clearly articu Show More...

The rhythmic template used in this movement is based on a familiar and popular dance rhythm of Debussy's time. Musical ideas need to be clearly articulated and I would suggest little use of the sustaining pedal. Pianists should listen to a several versions of the piece to understand the interpretive possibilities and options that can be considered. The realisation is a little hurried and lacks a little of the give and take needed in a performance. There are also one or inconsistencies in respect to the interpretation of the dynamics. In Debussy's scores, there is always a great amount of score detail. Taken from his Children's Corner Suite all the movements are worth while exploring. Close

Minuet in F K.2

A very familiar piece composed by a very young Mozart. This improver level score has specified fingering to assist the player. The minuet is a dance w Show More...

A very familiar piece composed by a very young Mozart. This improver level score has specified fingering to assist the player. The minuet is a dance with three beats to the bar although when learnt it is best played with a one in a bar feel. Mozart's example is of a simply structured binary form movement although when the form was later expanded it became important as one of the movements incorporated into the Classical symphony. 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

A very familiar piece composed by a very young Mozart. This beginner level format score has letter names of notes in the notehead and specified finger Show More...

A very familiar piece composed by a very young Mozart. This beginner level format score has letter names of notes in the notehead and specified fingering to assist the young player. The minuet is a dance with three beats to the bar although when learnt it is best played with a one in a bar feel. This example is a simply structured binary form movement although when the form was later expanded it became important as one of the movements incorporated into the Classical symphony. 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 original piano version

Nazareth (1863 -1934) was a Brazilian composer and pianist whose compositional style absorbs many different influences Brazilian, European, African an Show More...

Nazareth (1863 -1934) was a Brazilian composer and pianist whose 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. This is the original piano version although I would suggest that pianists listen to different arrangements and performances of the piece. Close

Brejeiro arr. intermediate piano

Nazareth (1863 -1934) was a Brazilian composer and pianist whose compositional style absorbs many different influences Brazilian, European, African an Show More...

Nazareth (1863 -1934) was a Brazilian composer and pianist whose 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. In terms of the arrangement, there has been some simplication of the texture although the core musical material remains intact. I would recommend listening to different versions of this simply lovely piece played by a range instrument of combinations. The original version is also available, on the website, for the brave and accomplished! Close

Für Elise

A very familiar piano piece familiarly known as Für Elise and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo fo Show More...

A very familiar piano piece familiarly known as Für Elise and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo form.This is a shortened version including just the first section of the work. The sustaining pedal should be used sparingly. The realisation lacks flexibility and the give and take needed in a convincing performance. Interestingly it is a piece that was not published until 40 years after the composer's death. As a familiar piece with some sections invitingly straightforward to play it is a piece that is frequently played badly! Counting the beats to the bar particularly in the tricky octave sections is essential if the timing is to be accurate. Close

Für Elise

A very familiar piano piece familiarly known as Für Elise and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo for Show More...

A very familiar piano piece familiarly known as Für Elise and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo form. This is a shortened version of just the first section of the work. The sustaining pedal should be used sparingly. The realisation lacks flexibility and the give and take needed for a convincing performance. Interestingly it is a piece that was not published until 40 years after the composer's death. As a familiar piece with some sections invitingly straightforward to play it is a piece that is frequently played badly! Counting the beats to the bar particularly in the tricky octave sections is essential if the timing is to be accurate. This is given a beginner level format but clearly at improver level in standard. Close

Tico-Tico arr. solo piano

In this intermediate level arrangement for solo piano the sounding key is A minor/major and a tempo of 88 quarter note (crotchet) beats to the minute Show More...

In this intermediate level arrangement for solo piano the sounding key is A minor/major and a tempo of 88 quarter note (crotchet) beats to the minute is recommended. 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. . Close

Rondo Alla turca original piano version

This is the full version of Mozart's Rondo Alla turka. One of the the most immediately recognisable and popular pieces of music in the repetoire wheth Show More...

This is the full version of Mozart's Rondo Alla turka. One of the the most immediately recognisable and popular pieces of music in the repetoire whether played on the piano or by other instruments. It is a very adaptable piece stylistically and in the repetoire of classical musicians, folk bands, jazz groups and café style ensembles. A piece with many repeating sections making it from a concentration point of view quite difficult to perform. 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 and little use of sustaining pedal is advised although it can be used more readily in the coda or closing section. Close

Rondo Alla turca

This is shortened version of Mozart's Alla turca in an arrangement for improver keyboard having specified fingering marked on the score. It should be Show More...

This is shortened version of Mozart's Alla turca in an arrangement for improver keyboard having specified fingering marked on the score. 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 repertoire. 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 and little use of sustaining pedal is advised although it can be used more readily in the coda or closing section. Close

Rondo Alla turca

This is shortened version of Mozart's Alla turca arranged for beginner keyboard and having the letter names of the notes in the note heads and specif Show More...

This is shortened version of Mozart's Alla turca arranged for beginner keyboard and having the letter names of the notes in the note heads and specified fingering. It is intended as a transition piece intended to help keyboard and piano players to progress quickly from beginner to improver level. 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. Understand that this is an improver level arrangement with beginner assist! Close

The Girl with the Flaxen Hair

This is Debussy's original piano version of The Girl with the Flaxen Hair (La fille aux cheveux de lin) which dates from 1910. A beautiful impressio Show More...

This is Debussy's original piano version of The Girl with the Flaxen Hair (La fille aux cheveux de lin) which dates from 1910. A beautiful impressionist piece, 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. The music editor suggests listening to several performances of the piece with different instrument combinations to understand the interpretative options that are possible. Interestingly with his scores, Debussy always put his titles at the end of his pieces in his prelude collections. Close

Fourth Movement Allegro | Piano Sonata in G (Hob. XVI/8)

A concise pianistic movement in binary form selected for this collection to encourage fast playing. Players may wish to substitute alternative fingeri Show More...

A concise pianistic movement in binary form selected for this collection to encourage fast playing. Players may wish to substitute alternative fingering. A tempo range of 80-84 dotted quarter note beats to the bar is recommended - the realisation is 80 dotted quarter (crotchet) notes to the bar. Once the music has been studied and learnt players should perform the piece communicating a one beat one in a bar feel. The keyboard sonatas of Haydn, whilst not as familiar as Mozart's and Beethoven's, offer rich pianistic treasures and are well worth exploring. His 50 plus keyboard sonatas were composed between the 1750's and the 1790's during the period when the piano became the most popular keyboard instrument. Close

First Movement from Sonatina No.6 arr. piano

This is a keyboard transcription of a movement from Mozart's Divertimento No 3 K439b for wind trio. Many of the distinctive and characteristic elemen Show More...

This is a keyboard transcription of a movement from Mozart's Divertimento No 3 K439b for wind trio. Many of the distinctive and characteristic elements of Mozart's compositional style are evident in this piece. The realisation has a tempo of 144 quarter note (crotchet) beats to the bar and is played without repeats. Musical ideas needed to be clearly articulated and the movement utilises a range of keyboard touches requiring a lightness in the hands and fingers. Keyboard players may wish to experiment with the suggested fingering for example, many music editors suggest using a different finger when the same note is repeated especially if there are staccato markings in the score. It is a technique that helps encourages lightness of touch. Close

Rondo in C major Opus No. 48 for piano + ornaments

A rondo is a piece with a recurring theme The repeat is often a varied repeat. Beethoven was particularly fond of using the form and they appear frequ Show More...

A rondo is a piece with a recurring theme The repeat is often a varied repeat. Beethoven was particularly fond of using the form and they appear frequently in his sonatas and concertos especially as the last movement. This is one of Beethoven's works described as being Without Opus Number (WoO). Many of the characteristics of Beethoven's more mature compositional and performance style are demonstrated in this piece. It is is a lively, dramatic and characterful movement that needs to be approached with a light pianistic touch. Fingering is in place on the music score to encourage a secure playing technique and the movement needs to be played at a healthy one to a bar tempo of around 72 dotted quarter note (crotchets) beats to the minute. In this version the ornaments are included in the realisation although I would recommended listening to performances of this work on available recordings to understand how to best approach how they should be played. Understand that pianists rarely approach the playing of trills, appogiaturauras and other ornaments in the same way. Conventions in the performance of ornaments also change according to the prevailing performance practice - the best advice is that the performance of ornaments should not effect the rhythmic momentum inherent in the music. Close

Rondo in C major WoO 48 for piano

A rondo is a piece with a recurring theme The repeat is often a varied repeat. Beethoven was particularly fond of using the form and they appear frequ Show More...

A rondo is a piece with a recurring theme The repeat is often a varied repeat. Beethoven was particularly fond of using the form and they appear frequently in his sonatas and concertos especially as the last movement. This is one of Beethoven's works described as being Without Opus Number (WoO). Many of the characteristics of Beethoven's more mature compositional and performance style are demonstrated in this piece. It is is a lively, dramatic and characterful movement that needs to be approached with a light pianistic touch. Fingering is in place on the music score to encourage a secure playing technique and the movement needs to be played at a healthy one to a bar tempo of around 72 dotted quarter note (crotchets) beats to the minute. In the realisation the ornaments have been omitted although they are notated in the musical score. I would suggest that the piece is learnt without the inclusion of ornaments in the first instance. Close

Andante in C from Piano Sonata No. 10 in C for piano Hob. XVI/1

A graceful movement from one of Haydn's early keyboard sonatas with a melody that very much captures the spirit of the classical age.The melody needs Show More...

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

Andante from Sonatina in C Opus 36

Another movement from the rich treasure trove of Clementi's Opus 36 Sonatina's for piano. This is a slow Andante movement having a legato melody accom Show More...

Another movement from the rich treasure trove of Clementi's Opus 36 Sonatina's for piano. This is a slow Andante movement having a legato melody accompanied by a triplets. Ornaments have been written out and the score detail includes specified fingering. A tempo of 54 quarter (crotchet) note beats to the minute is suggested and the music editor advises minimal use of the sustaining pedal. 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. His sonatinas are well known attractive pieces especially suited to the improver level player. He was one of the first composers to create works specifically written for the piano. Close

Celibrated Minuet for piano/keyboard

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

This improver version features the only first minuet of Boccherini's Minuet and Trio from his String Quintet Opus 11 No.5. In this two part arrangement for piano/keyboard the musical texture has been simplified into melody and accompaniment. Fingering is clearly marked in the score along with other score detail and the ornaments have been written out in full, in an ossia staff, to assist players. I would suggest that they are perhaps omitted in the early stages of learning the piece. This movement requires a lightness of touch and above all a very consistent approach which will be a challenge to players inexperienced in performing music from this era. A tempo of 100 quarter note (crotchet) beats to the minute is recommended and minimal use of the sustaining pedal encouraging a dry acoustic. Close

Celibrated Minuet arr. piano/keyboard

This improver version has the letter names of the notes written in the noteheads and features the only first minuet of Boccherini's Minuet and Trio fr Show More...

This improver version has the letter names of the notes written in the noteheads and features the only first minuet of Boccherini's Minuet and Trio from his String Quintet Opus 11 No.5. It is intended to be a bridging piece encouraging instrument players to progress from beginner to improver level. (quickly!) In this two part arrangement for piano/keyboard the musical texture has been simplified into melody and accompaniment. Fingering is clearly marked in the score along with other score detail and the ornaments have been written out in full, in an ossia staff, to assist players. I would suggest that they are perhaps omitted in the early stages of leaning the piece. This movement requires a lightness of touch and above all a very consistent approach which will be a challenge to players inexperienced in performing music from this era. A tempo of 100 quarter note (crotchet) beats to the minute is recommended and to encourage a dry acoustic minimal use of the sustaining pedal. Close

Celibrated Minuet for piano

One of the most familiar pieces of the classical repetoire composed by the Italian composer, Luigi Boccherini. The work originated as part of his stri Show 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 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. 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 from Sonatina in G arr. beginner piano/keyboard

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement of the first section of the piece Show More...

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement of the first section of the piece for piano/keyboard the melody is played by the right hand whilst the left hand plays some broken chords. Fingering is clearly marked in the score and a tempo of 100 quarter note (crotchet) beats to the minute and as a beginner score the letter names of the notes can be seen in the noteheads. 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 beginner arrangement. Close

Rondo from Sonatina in G arr. piano/keyboard

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement of the first section of the piece Show More...

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement of the first section of the piece for piano/keyboard the melody is played by the right hand whilst the left hand plays some simple chord shapes. Fingering is clearly marked in the score and a tempo of 100 quarter note (crotchet) beats to the minute and as a beginner score the letter names of the notes can be seen in the noteheads. 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 beginner arrangement. Close

Rondo from Sonatina in G Opus 36 No.5 for piano

This is a very attractive piece which has in the recent past been used as the basis for a pop tune. It was composed by Clementi who was known in his o Show More...

This is a very attractive piece which has in the recent past been used as the basis for a pop tune. It was composed by Clementi who was 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 excellent pieces for improver pianists and keyboard players. Performance detail including specified fingering is marked in this score and a tempo of 120 quarter note (crotchet) beats to the minute is suggested and used in the realization. A rondo is a piece with a recurring theme. As a relatively fast piece a light playing touch will be needed. Close

Minuet in G | piano solo | WoO 10 No.2

A very appealing and familiar movement from the treasure trove of Beethoven's works WoO (Without Opus number) Originally composed for orchestra, the m Show More...

A very appealing and familiar movement from the treasure trove of Beethoven's works WoO (Without Opus number) Originally composed for orchestra, the manuscript was lost and the music has essentially been reconstructed from a piano arrangement. It is an excellent piece for improver (second year) player and this version for solo piano has the right and left hand fingering clearly specified. In performance the Minuet is played with repeats followed by the Trio section marked più mosso again with repeats. Finally, the first Minuet is repeated but this time without repeats. A rit. (slowing down) at the end of the two main sections (minuet and trio) is appropriate. The music editor urges those auditioning this piece to listen to many performances featuring different soloists get a clear vision of how the movement can and should be played. It is a Beethoven piece that frequently is played badly. A tempo of 110 quarter note (crotchet) beats to the minute is suggested for the first Minuet section and a tempo of 120 quarter note (crotchet) beats to the minute is suggested for the Trio section marked più mosso. Notes need to be clearly articulated and remember that the movement is full of humour and character. A plain score is appended to the edited music score. This score was reviewed and revised in 2020. Close

Romanze beginner piano version

A cut down version of a movement taken from one of Beethoven's Sonatina's for piano intended for the beginner player. A tempo of 66 dotted quarter be Show More...

A cut down version of a movement taken from one of Beethoven's Sonatina's for piano intended for the beginner player. A tempo of 66 dotted quarter beats to the minute is recommended for this charming piece in 6/8 time. As a beginner piece the letter names of the notes have been placed in the note heads. Performance detail also has been added to the score and fingering is clearly specified. Close

Romanze | Sonatina in G Anh.5 No.1

A movement taken from one of Beethoven’s Sonatina’s for piano that are catalogued in the appendix of his compositional output. This Sonatina being Show More...

A movement taken from one of Beethoven’s Sonatina’s for piano that are catalogued in the appendix of his compositional output. This Sonatina being Anh.5 No.1. This is a charming piece of music in 6/8 time and is suited to being played by a number of different instrument combinations although its origins are as a piano piece. A tempo of 66 dotted quarter beats to the minute is recommended and performance detail has been added to the score and fingering is clearly specified. Possibly more could have been made more of the pause marks in the realisation. A sonatina is literally a small sonata derived from a word sonare that implies something to be sounded or played. Close

Vivace | Piano Sonatina in C Opus 36 No.1

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishin Show 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 manufacturer of pianos. His sonatinas are well known attractive pieces especially suited to the beginner player. This particular piece has been selected to encourage fast playing and in the piano copy suggested fingering is clearly indicated in the score. Players will need to keep their fingers close to keys to achieve a tempo of 72 dotted quarter note (crotchet) beats to the minute as in the realisation. Vivace is Italian for lively. Close

Serenade arr. piano or keyboard

This is a two part arrangement for piano/keyboard of this familiar piece from the string quartet repertoire. The music possesses classical beauty and Show More...

This is a two part arrangement for piano/keyboard 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 90 quarter note (crotchet) beats to the bar is suggested. The repeats do not play in the realisations and in a performance are probably not needed. The sheet music score has suggested fingering is in place. An ideal concert item because the music epitomises and breathes the spirit of classical music although surprisingly not composed by one of the famous and familiar classical composers.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. The melody can be played with some differences to the phrasing and articulations indicated and suggested in the score. The ornaments, acciaccaturas (crushed notes) which are always a confusing element in music performance are probably best omitted in the early stages of playing the movement. 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. There is also a strong repetitive element that requires music to played with 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. 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 score the appoggiaturas (leaning notes) have been notated as they are to be played while the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. Roman Hoffstetter, the composer of this music, was interestingly a Benedicine 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. This PlentyMusic score was reviewed in 2023. Close

Serenade arr. piano | keyboard

This is a two part cut down arrangement for the beginner player of this familiar piece from the string quartet repertoire. The music possesses classic Show More...

This is a two part cut down arrangement for the beginner player of this familiar piece from the string quartet repertoire. The music possesses classical beauty and is sustained in its quality. Whilst attributed to Haydn it is now known to have been composed by Roman Hoffstetter. Whilst, the music in the movement does sound easy to play there are nevertheless challenges in playing music of this era well and musically. In performance, the articulation of the notes needs to be consistent - the melody is to be played legato and the accompaniment staccato or at least in a detached manner. A tempo of 100 quarter note (crotchet) beats to the bar is suggested. As a beginner score the letter names of the notes appears in the note head and suggested fingering is in place. Remember that one of the best reasons to play classical music is that it is very helpful 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. Close

Theme & Variations on a Swiss Air WoO64 | piano solopiano

This is an arrangement for piano of Beethoven's Variations on a Swiss Air WoO 64. It is an excellent piece enabling players to identify many of the st Show More...

This is an arrangement for piano of Beethoven's Variations on a Swiss Air WoO 64. It is an excellent piece enabling players to identify many of the stylistic elements that feature in Beethoven's compositions. The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations although variations 2 & 3 need to be played at a slightly slower tempo. The score is provided with prerformance detail including fingering. A high improver level arrangement. Close

Theme & Variations on a Swiss Air (piano original)

This is Beethoven's original piano version of his Six Variations on a Swiss Air WoO 64. It is an excellent piece enabling players to identify many of Show More...

This is Beethoven's original piano version of his Six Variations on a Swiss Air WoO 64. It is an excellent piece enabling players to identify many of the stylistic elements that feature in Beethoven's compositions. The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations although variations 2 & 3 need to be played at a slightly slower tempo. The movement has performance detail and suggested fingering. Close

Theme & Variations arr. piano/keyboard

This is an adapted and arranged version of Beethoven's Theme and Variations on a Swiss Air WoO 64 introducing players to the elements of Classical sty Show More...

This is an adapted and arranged version of Beethoven's Theme and Variations on a Swiss Air WoO 64 introducing players to the elements of Classical style and more particularly to the composer's style. The simple theme needs to be clearly articulated and played with a detached but not staccato keyboard touch. The WoO is short for Work without Opus Number and there are many jewels found in this category of work by Beethoven. As a Beginner level piece the letter names of the notes are written in the noteheads. Close

Any Rags? arr. piano / keyboard

An arrangement piano and/or keyboard of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the be Show More...

An arrangement piano and/or keyboard of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of F. Close

The Good Time’s Rag arr. piano or keyboard

In this improver version for solo piano or keyboard the 8 bar melody first played with the bass outline and is then repeated first with a simple vampe Show More...

In this improver version for solo piano or keyboard the 8 bar melody first played with the bass outline and is then repeated first with a simple vamped chord accompaniment and then with a an accompaniment where the accompaniment changes with each beat. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended and is used in the realisation. Close

The Good Times Rag arr. piano or keyboard

A harder and longer version of this beginner piece to introduce piano and keyboard players to the musical elements that feature in ragtime music. In t Show More...

A harder and longer version of this beginner piece to introduce piano and keyboard players to the musical elements that feature in ragtime music. In this version a simple accompaniment based on chords is introduced in the second play through of the melody. A tempo of 110 quarter notes (crotchet) beats to the minute is suggested whilst the letter names of the notes are written in the note head. Fingering is clearly specified. Close

The Good Times Rag arr. piano or keyboard

A two part beginner piece to introduce piano and keyboard players to the musical elements that feature in ragtime music namely syncopated rhythms and Show More...

A two part beginner piece to introduce piano and keyboard players to the musical elements that feature in ragtime music namely syncopated rhythms and clearly articulated chord based melody shapes. A tempo of 110 quarter notes (crotchet) beats to the minute is suggested. There is a keyboard graphic to support beginner players whilst the letter names of the notes are written in the note heads. Fingering is also clearly specified. Close

Wilson’s Rag arr. keyboard/piano

An arrangement of this ragtime waltz for piano or keyboard. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the Show More...

An arrangement of this ragtime waltz for piano or keyboard. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. In this version the right hand plays the melody whist the left hand either plays either in octaves or vamped chords. Specified fingering is also clearly indicated in the score. Close

Wilson’s Rag arr. keyboard/piano

This is easy to play two part ragtime piece exploring the waltz rhythm. A tempo of 100-110 quarter note (crotchet) beats to the minute is suggested. A Show More...

This is easy to play two part ragtime piece exploring the waltz rhythm. A tempo of 100-110 quarter note (crotchet) beats to the minute is suggested. As a beginner score the letter names of the notes are written inside the extra large note heads and there is recommended fingering. A competent performance would suggest that the player is ready to tackle improver level pieces. Close

The Entertainer Original Version for Piano

This is Joplin's piano original of The Entertainer which he described as A Rag Time Two Step. Composed in 1902, this music is instantly recognisable, Show More...

This is Joplin's piano original of The Entertainer which he described as A Rag Time Two Step. 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 the music editor suggests 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. Ragtime music is deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close

The Entertainer arr. piano/keyboard

The intermediate version of "The Entertainer" includes all the main musical sections of the original. Chords have been more appropriately voiced for Show More...

The intermediate version of "The Entertainer" includes all the main musical sections of the original. Chords have been more appropriately voiced for the beginner player and the texture simplified so that the right hand octaves are omitted. 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 recommended. Close

The Entertainer arr. piano/keyboard

In this improver level arrangement the right hand plays the outline melody accompanied by the left hand playing chords. Fingering is specified and pla Show More...

In this improver level arrangement the right hand plays the outline melody accompanied by the left hand playing chords. Fingering is specified and players are helped by graphics to show which notes are to be played for the chords. When chords are subsequently repeated only the chord symbol is given. This is a cut down version omitting the final two sections of the Trio. 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. Close

El Choclo arr. piano / keyboard

This very popular tango dates from 1903 and is probably quite a challenge for an improver level piano/keyboard player. A tempo of 60-66 quarter note Show More...

This very popular tango dates from 1903 and is probably quite a challenge for an improver level piano/keyboard player. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. The English translation of El Choclo is the "The Ear of Corn". 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. Close

La paloma arr. piano in C

This arrangement is for improver piano in the key of C. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody Show More...

This arrangement is for improver piano in the key of C. 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 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 solo piano

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 Show 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 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. 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. This copy does not have any suggested fingering whilst a tempo of 110 quarter note (crotchet) beats to the minute is recommended. Close

La Paloma arr. piano in C

An intermediate level arrangement for solo piano in the key of C. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. Th Show More...

An intermediate level arrangement for solo piano in the key of C. 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 figuration should be played staccato or certainly in a detached manner. 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. 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. This version is in the key of C and has suggested fingering. Close

La Paloma arr. piano in D

An intermediate level arrangement for piano. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested.The melody needs to be Show More...

An intermediate level arrangement for piano. 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 figuration should be played staccato or certainly in a detached manner. Sebastiian 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. 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. This version is in C and has suggested fingering. Close

La Paloma arr. piano in G

This version is for intermediate level piano in the key of G. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The me Show More...

This version is for intermediate level piano 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 figuration should be played staccato or certainly in a detached manner. 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. 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. This version is in G and has suggested fingering. Close

Le Piccadilly arr intermediate piano

This is an intermediate level version of Satie's march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm Show More...

This is an intermediate level version of Satie's march inspired by the music of the ragtime era. It 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 humorous piece dating from 1904. The music copy has been edited with right and left hand fingering. Close

Le Piccadilly (Original Version)

This is Satie's original version of the march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm which was Show More...

This is Satie's original version of the march inspired by the music of the ragtime era. It 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 humorous piece dating from 1904. Close

Los Tres Golpes for piano

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

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

Twinkle, Twinkle Little Star arr. piano/keyboard

This version of the familiar melody is presented with an "alberti" style left hand chordal accompaniment similar to that feature in much classical key Show More...

This version of the familiar melody is presented with an "alberti" style left hand chordal accompaniment similar to that feature in much classical keyboard music. The letter names of the notes also appear in the note heads to encourage the learning of the position of the notes in both the treble and bass clefs. The right and left hand fingering is clearly specified to help establish secure performance technique. Close

Piano Variations on Twinkle, Twinkle Little Star

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

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

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

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

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

Prelude in C minor BWV 999 for solo keyboard

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

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

Minuet in G minor BWV App.115 solo keyboard

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

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

Little Prelude in D BWV 936 piano / keyboard

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

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

Prelude in D minor for solo keyboard BWV 926

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

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

Jesu, Joy arr. in 8/8

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

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

Jesu, Joy arr in 7/8

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

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

Jesu, Joy arr. for solo keyboard

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

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

Jesu, Joy arr. for solo keyboard

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

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

Sleeper\'s Wake arr. for solo keyboard

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

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

Sleeper\'s Wake arr for solo keyboard

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

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

Minuet in B minor BWV 1067 arr. keyboard / piano

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

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

Bourrée in E minor BWV 996 arr. solo keyboard

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

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

Bourrée in E minor for solo keyboard

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

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

Invention 8 BWV 779 | piano

J.S.Bach’s Invention 8 BWV 779 in F is one of the most popular of the two part inventions and available as a free sheet music score from PlentyMusic Show More...

J.S.Bach’s Invention 8 BWV 779 in F is one of the most popular of the two part inventions and available as a free sheet music score from PlentyMusic. Cadential preparation is a strong feature and because is a relatively familiar keyboard work pianists will need to ensure that it has been well prepared before a performance. The realisation plays back at 96 quarter note or crotchet beats to the minute. Many play it faster and interestingly it is an invention without ornaments. Avoid playing the movement too loudly and keep a lightness in the hands. Remember that music cannot be played quickly until it can be played slowly. Keyboard players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Keyboard players will need to keep a lightness in the hands if they are to play the movement at tempo. Fingers will also need to be close to the keys. Fingering choices dependent on the direction in which the fingers and hands are moving also has a context with this particular invention. An uplifting and appealing invention giving keyboard players the opportunity to combine legato and detached or staccato playing. Keyboard players are in familar territory both with the harmonic outline or key journey and the compositional processes used This invention generally invites more of a consistent approach and vision which is suggested and supported by the recordings available. Again it is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. What is fascinating is to hear some of the greatest pianists and harpsichordists playing what really are considered to be learning pieces. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. 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 keyboard technique. A plain score is attached to the edited music score. Close

Invention 4 BWV 775

Invention 4 BWV 775 in D minor is an appealing work in the key of D minor and features an opening motif or melodic shape that combines stepwise moveme Show More...

Invention 4 BWV 775 in D minor is an appealing work in the key of D minor and features an opening motif or melodic shape that combines stepwise movement with the interval of a falling diminished seventh. The realisation plays back at 60 dotted quarter note or dotted crotchet beats to the minute. Playing the D minor scale in its harmonic and melodic forms would be excellent preparation for playing this invention. 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 an F natural but many alternate an F# with the E In the video score, which keyboard 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. This is an invention where it is interesting to observe the different approaches to playing the movement. Many play the invention articulating the eighth note or quavers with a detached staccato while others play the movement with a legato touch. The former approach requires a lightness in the hands and can be a challenging because of the tension created especially if the movement is played at a fast tempo. 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! Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. What is fascinating is to hear some of the greatest pianists and harpsichordists playing what really are considered to be essential repertoire for players in their early years of playing a keyboard instrument. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The key journey that features in this movement embraces the closley 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. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. Pianists will find it rewarding to listen to performances of this invention on streaming platforms particularly on the piano to get a sense of how important an aspect of piano playing this is. 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 keyboard technique. A plain score is appended to the edited music score. Close

Invention 14 BWV 785 | piano keyboard

J.S. Bach’s Invention 14 in the key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation Bach played his Show More...

J.S. Bach’s Invention 14 in the key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation Bach played his music on mechanical instruments and for the modern player much can be learnt about playing by occasionally practicing on a silent keyboard. This could be a keyboard or even an organ which is a quite an appropriate instrument on which to play the Bach inventions. A lively movement which is excellent for improving strength in the weaker 4th and 5 fingers. Keyboard players will need to be aware of how the phrases are shaped and some of the leaps will need some attention. A lightness in the playing touch and hands is essential if the invention is to played at tempo without the hands becoming tense. Ornaments are omitted in this movement but make way for some exacting and rhythmic figuration. The realisation plays back at 60 quarter note or crotchet beats to the minute. There are different approaches to playing this invention and keyboard players should spend time listening to performances of the work on streaming media.. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument 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 other 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 keyboard technique. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. This is an important aspect of piano playing. A plain score is attached to the edited music score, Close

Invention 13 BWV 784 | Piano Keyboard

J.S.Bach’s Invention 13 is in the key of A minor and is a movement with some quite delightful shapes to play with the diminished 7th chord reference Show More...

J.S.Bach’s Invention 13 is in the key of A minor and is a movement with some quite delightful shapes to play with the diminished 7th chord referenced in some of the patterns. This invention can and is played in different ways particularly from the point of view of tempo. As in all the inventions it is a requirement to play accurate note values. Ends of phrases are deserving of particular attention. A legato touch is suggested and players will need consider how they approach phrasing the shapes of the music in a performance. Singing or humming through the lines quietly will help clarify to instrumentalists how the music is to be played. In the edited music score suggested fingering is in placed above the notes in the treble clef and below them in the bass clef. Often in this movement the suggested fingering is determined by the direction in which the music is moving. Keyboard players would be wise to spend time playing the opening bars several time before proceeding to playing the whole movement. Remember that there are often references and suggestions in the Bach invention scores that the intended instrument on which they were to be played had two manuals. Ornaments are not featured in this movement whilst the realisation plays back at 60 quarter note or crotchet beats to the minute. Time spent listening to this work on streaming media will be invaluable to players wishing to understand the different approaches that players have when performing this movement. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument 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 other 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 keyboard technique. There is opportunity to distribute the weight between the hands to give prominence to the entries of thematic material. This is an important aspect of piano playing but one that needs to be developed and nurtured and understood in terms of playing a wide repertoire of music. An invention suited to being played by a wide range of instrument combinations possibly in combining instruments belonging to different instrument families. A plain score is attached to the edited sheet music score. Close

Siciliano in G minor arr for solo keyboard

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

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

Polonaise in G minor for solo keyboard

The polonaise is a dance in three time of Polish origin and the rhythmic motives featuring in this particlar example are very typical. This version fo Show More...

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

Polonaise in G minor BWV App.119 solo keyboard

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

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

Polonaise in G minor BWV App. 119 solo keyboard

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

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

Minuet in G minor BWV App. 115 solo keyboard

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

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

Minuet in G minor BWV App. 115 solo keyboard

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

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

March in D solo keyboard

C.P.E.Bach's lively march from the Anna Magdalena Notebook written in cut time. The left hand piano part can be played in a detached semi-staccato man Show More...

C.P.E.Bach's lively march from the Anna Magdalena Notebook written in cut time. The left hand piano part can be played in a detached semi-staccato manner. This piece requires a secure technique for the performance to be convincing. Suggested fingering has also been added to the score. Close

March in D solo keyboard

C.P.E.Bach's lively march from the Anna Magdalena Notebook written in cut time. This version for keyboard has the letter names of the notes written in Show More...

C.P.E.Bach's lively march from the Anna Magdalena Notebook written in cut time. This version for keyboard has the letter names of the notes written in the note heads to assist in learning the note positions of the treble and bass staves. Close

Minuet in G keyboard / piano

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

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

Minuet in G BWV App116 keyboard / piano

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

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

Minuet in D minor BWV App.132 solo keyboard

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

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

Minuet in D minor BWV App.132 | solo keyboard

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

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

Musette in D BWV App.126 piano / keyboard

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

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

Musette in D for piano / keyboard BWV App.126

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

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

Minuet in G BWV App.114 keyboard or piano

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

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

Minuet in G BWV App.114 keyboard or piano

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

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

Minuet in G BWV App.114 keyboard or piano

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

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

Minuet in G App. 114 keyboard or piano

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

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

Prelude in C BWV 946 from The Well Tempered Clavier piano

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