The arrangement is scored for soprano, 2 alto, tenor & baritone saxophones and is based on the first theme from the third movement of Borodin’s Stri Show More...
The arrangement is scored for soprano, 2 alto, tenor & baritone saxophones and is based on the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dating from 1881 the movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transpositions in the parts whilst the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible the material from the original work has been incorporated into the arrangement. The realisation at times is rather ambient. Individual saxophone parts are appended to a copy of the full score. The arrangement sounds in Bb and accompaniments are in place using the minus one approach enabling each of the saxophone players to enjoy ensemble music practices as part of their practice routines. Close
In this arrangement for soprano, alto & tenor saxophones the sounding key is Bb and a tempo of 132 quarter note (crotchet) beats to the minute is use Show More...
In this arrangement for soprano, alto & tenor saxophones the sounding key is Bb and a tempo of 132 quarter note (crotchet) beats to the minute is used in the realisation. The parts for the individual instruments are appended to the full score in the pdf download. This movement demonstrates the essential elements of Mozart’s compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive stylistically. The Divertimento (and the related Viennese Sonatinas) are relatively easy works well worth exploring. Accompaniments are in place enabling each of the saxophones to prepare for a rehearsal and a performance. They play at 120, 132 and 144 quarter note beats per minute. This is a movement that encapsulates the musical and style of Mozart and at the same time demonstrates many of the musical elements evident in the classical style. Close
In this arrangement for 3 alto saxophones the sounding key is Eb and a tempo of 132 quarter note (crotchet) beats to the minute is used in the realis Show More...
In this arrangement for 3 alto saxophones the sounding key is Eb and a tempo of 132 quarter note (crotchet) beats to the minute is used in the realisation. The parts for the individual instruments are appended to the full score in the pdf download. This movement demonstrates the essential elements of Mozart’s compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive stylistically. The Divertimento (and the related Viennese Sonatinas) are relatively easy works well worth exploring. Accompaniments are in place enabling each of the alto saxophones to prepare for a rehearsal and performance. They play at 120, 132 and 144 quarter note beats per minute. This is a movement that encapsulates the musical and style of Mozart and at the same time demonstrates many of the musical elements evident in the classical style. The alto saxophone 3 part has a number of octave transpositions in place to assist the voicing and to keep to the instrument’s range. Close
This is an arrangement for saxophone quintet comprising soprano, two alto, tenor and baritone saxophones of Tchaikovsky’s Neapolitan Dance also fami Show More...
This is an arrangement for saxophone quintet comprising soprano, two alto, tenor and baritone saxophones of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the soprano saxophone part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the players and has been well rehearsed. Individual parts for each of the instruments are appended to the full score whilst accompaniments featuring a minus one instrument approach. Close
This is an two part arrangement of Beethoven’s Theme and Variations on a Swiss Air WoO 64 for alto and tenor saxophones introducing players to the Show More...
This is an two part arrangement of Beethoven’s Theme and Variations on a Swiss Air WoO 64 for alto and tenor saxophones introducing players to the elements of Classical style and more particularly to Beethoven’s compositional approach . The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels to be 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 whilst variations 2, 3 and 4 need to be played at a slightly slower tempo 120 quarter note bpm. Accompaniments are in place available for both alto and tenor saxophones enabling saxophonists to practice their ensemble parts in preparation for a performance. Each variation is given a short tempo click of three beats to enable accurate tempi are played. There are some octave transpositions of the saxophone parts to keep to convenient ranges for each of the instruments. Close
An arrangement for alto and tenor saxophones of this uplifting piece which features imitation in the writing and like many of Bach’s short works com Show More...
An arrangement for alto and tenor saxophones of this uplifting piece which features imitation in the writing and like many of Bach’s short works composed in two sections. This binary (AB) form dance form movement needs to be played fluently with all notes being clearly articulated. The repeats are not played in the realisation which plays back at 110 quarter note (crotchet) beats to the minute sounding in the key of F. Accompaniments are in place again without repeats playing at 102, 106, 110 and 114 bpm. Close
This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for alto and tenor saxophon Show More...
This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for alto and tenor saxophones. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 8/8 time and needs to be played with an awareness of the 3+3+2 pattern that underlies the rhythmic template for the movement. This pattern is a shape used in much popular music of the rock and roll era giving a contemporary feel to the music as well as providing a very good opportunity to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Accompaniments are in place playing at 98, 102 106, 110 and 114 quarter note (crotchet) beats to the minute. The sounding key is F major and parts appropriately transposed are appended to the full score. Close
An arrangement for trombone and piano of this popular English folk song in the dorian mode with D being the keynote. The realisation plays at 48 dotte Show More...
An arrangement for trombone and piano of this popular English folk song in the dorian mode with D being the keynote. The realisation plays at 48 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins in the English ballad culture of many centuries ago. A trombone part is appended to the full score. The three accompaniment options have tempi of 1) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. The advice is to play the movement with a one to a bar beat or pulse. Close
This is a charming piece of music in 6/8 time and taken from one of Beethoven’s Sonatina’s for piano. In this arrangement for alto saxophone, elec Show More...
This is a charming piece of music in 6/8 time and taken from one of Beethoven’s Sonatina’s for piano. In this arrangement for alto saxophone, electric and bass guitar a tempo of 66 dotted quarter beats to the minute is ruded in the realisation. The music has been transposed to the key of F and individual parts are appended to the full score. This is the second movement of Beethoven’s Sonatina. Whilst attributed to the composer the sonatina from which this music is from may have actually been composed by someone else. The music is from a catalogue described as an appendix. One of the challenges of cataloguing the music from the distant past is attributing it to the right composer and this Sonatina falls into this category. Accompaniments are in place providing the alto saxophonist with the opportunity of playing in an ensemble as part of music practice routines. Scores are available with and without TAB for the guitar players. The repeats are not in place in the realisation or accompaniment scores. Close
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 saxophone quartet comprising 2 alto, tenor and baritone saxophones is in common time while some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary style. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. This arrangement explores a gentle rock style whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar. The full score includes a piano short score and individual parts for soprano, alto, tenor and baritone saxophone are appended to the full score. Accompaniments are in place enabling alto saxophone players to play solo melody indicated (ATB) Close
An arrangement for alto saxophone and tenor saxophone of this characterful and lively march written in cut time. A tempo of 76 half note or minim be Show More...
An arrangement for alto saxophone and tenor saxophone of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the realisation and accompaniments are in place enabling both alto saxophone and tenor saxophone players to enjoy duo playing as part of practice routines. Accompaniment tempos are 72, 76, 80 and 84 half note or minim beats to the minute. There are some octave transpositions in the tenor saxophone part to keep to the instruments range. The sheet music score is presented showing both parts on one page. C.P.E. Bach was one of J.S.Bach’s 4 composing sons. Close
An arrangement of Ivor Gurney’s song Sleep for soprano saxophone and piano in the sounding key of B flat minor. sheet music & accompaniments link : Show More...
An arrangement of Ivor Gurney’s song Sleep for soprano saxophone and piano in the sounding key of B flat minor. sheet music & accompaniments link : Sleep comes from Gurney’s collection of 5 Elizabethan Songs composed in 1912 and published in 1920. It is a beautiful piece of music and whilst originating as a song, the melody is deserving of being played and heard arranged as an instrumental solo with piano accompaniment. It has been placed in the Songs Without Words and Music for Special Events Areas of Study. A soprano saxophone part is attached to the full score in the pdf download. Gurney’s Sleep has challenges for the soloist as far as tuning and intonation are concerned. This is a composer who had a wonderful musical ear only for it to be tormented and challenged by the noises of war. He was an individual who had the potential to be a great English composer and poet although circumstances led him to a more troubled and often desperate journey in life. Sleep’s haunting beauty makes it the perfect piece for a remembrance or similar event. It is music that can set a mood and tone in just a few moments and as such is a concisely written work. There are some reading challenges as far as the notation is concerned and despite being written in B flat minor the piano accompaniment is relatively straight forward once attention has been paid to the accidentals. This movement is to be played in a slow tempo (52 eighth note) with a legato touch is the realisation speed. Piano accompaniments are in place playing at 48,(16) 51,(17) 54 (18) and 57 (19) eighth note (quaver) beats to the minute. In preparing the accompaniment scores the music editor has adopted a dotted quarter note beat to the bar approach shown in brackets. Ivor Gurney (1890 – 1947) was both poet and musician born in Gloucester and a contemporary of Herbert Howells and Ivor Novello whilst studying at Gloucester Cathedral. Gurney is often described as the poet of the Somme and Severn He loved Gloucester and its countryside often walking with friends and somewhat oddly was fond of walking through the night which possibly added to the complexities of his personality. He started composing from 1904 and studied at the Royal College of Music from 1911 and whilst his talent was recognisable, he demonstrated that he was not a particularly teachable student. Whilst a person with an exuberant personality and a sense of fun and adventure Gurney was prone to bouts of depression. He had to take a break from his studies and it is from this time (1912) the song Sleep was composed. Despite his poor eye sight he enlisted in June 1915 and in France experienced the severity of trench warfare. It was from these experiences he was encouraged to write poetry. His first collection of verse was published in October 1917 with the title Severn and Somme. Injured he returned to England but remained in poor mental health. Later gassed at the front he was discharged from the army in 1918 spending troubled times with family in a life pattern that became a series of highs and lows. He returned to his music studies worked on a farm but was declared insane in 1922 and placed first in Barnwood House, Gloucester and then later to the City of London Mental Hospital, Dartford Kent. Gurney was troubled for much of his life with mental health issues spending many years in asylums where he in fact managed to write some of his best poetry Gurney died of TB in 1937 but thanks to Gerald Finzi and other friends his music and poetry was collected together and archived. Much of his work was never published but his output was considerable. Close
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for saxophone trio of soprano, alto and tenor saxophones. The realisation playback at 58 dotted quar Show More...
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for saxophone trio of soprano, alto and tenor saxophones. The realisation playback at 58 dotted quarter note or crotchet beats to the minute. In this version ornaments have been omitted. Playing the a minor scale in all its forms natural, harmonic and melodic would be excellent preparation for playing this sinfonia. 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. (4 x 3 to the bar). Accompaniments are in place playing at 56, 58, 60, 62 & 64 dotted quarter note (crotchet) beats per minute (bpm). They feature the alto and tenor saxophones sounding voices 2 & 3 of Bach’s composition. There is a one bar click track sounding on the woodblock as an introduction. 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. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills, good intonation , ensemble playing and particularly exploring the ranges of instruments. 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, stretto. In these works the closely related keys of the dominant, sub-dominant, relative minor are explored 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 of intention in the playing approach. Baroque scores generally have minimal score detail in place. The movement end with a major chord in what is referred to as a Picardy third. PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for saxophone quintet comprising soprano, alto, 2 tenor & bar Show More...
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for saxophone quintet comprising soprano, alto, 2 tenor & baritone saxophones. 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 108 quarter note beats per minute. The tempo in the arrangement is constant. Individual instrument parts are appended to the full sheet music score. Accompaniments are in place featuring the saxophone quintet minus the soprano saxophone & are available as mp3 downloads playing back at 100, 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute. 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 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. It is also an excellent test as an ensemble piece requiring good communication between the players. The solo part 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
Joaquin Malats Serenata Española from his Impressions of Spain arr. saxophone sextet comprising soprano saxophone, 2 alto saxophones, 2 tenor saxoph Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. saxophone sextet comprising soprano saxophone, 2 alto saxophones, 2 tenor saxophones & baritone saxophone. Individual instrument parts are appended to the full sheet music score in the pdf download. A sunny piece that features many characteristics typical of Spanish music. Individual instrument parts are appended to the full score available as a pdf download. Accompaniments are in place enabling the soprano to practice and play as part of an ensemble. They play at 104, 108,112,116 & 120 bpm. There is a 2 bar click track to prepare players for this ensemble experience. The workability of this arrangement does need to be evaluated and PlentyMusic would value feedback from musicians trying out this arrangement. It is possible that there are better octave options in the parts that could be explored. a piano can always be used to substitute for missing instruments. animando used in the score implies an increase in tempo and has been placed above the stave as a score marking The music in this sounds in the key of G minor. The origins of this piece are as a piano solo although 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 were appearing in concert programmes including music of Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key of G in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. 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 most 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. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement and instrument ranges are often challenging. Close
Tchaikovsky’s Chant sans Paroles (Song without Words) Opus 2 No.3 arranged for tenor saxophone & piano. The realisation plays back at 80 quarter no Show More...
Tchaikovsky’s Chant sans Paroles (Song without Words) Opus 2 No.3 arranged for tenor saxophone & piano. The realisation plays back at 80 quarter note (crotchet) beats to the minute. Piano accompaniments are in place playing at 72, 76, 80, 84 & 88 beats per minute. There is a two bar count in played on the wood blocks. A saxophone part is appended to the full score on the pdf download. Pianists will need to make use of the sustaining pedal although its use has not been indicated in the sheet music score. The sense of melody is always strong in this composer’s writing. Musicians need to explore the full tonal and dynamic range when playing this music The small decorative notes are possibly best omitted in the early stages of learning the piece. Late 19th century chromatic harmony is evident in the writing and the 8 bar phrase structure is consistent in this movement. The musical templates that tended to dominate Tchaikovsky’s composing life were the popular dance forms of his day – waltz, polka, mazurka, scherzo. This is music intended for performance in the salon or drawing room. This high intermediate arrangement keeps very much to the composers original score with just a few additional notes in the accompaniment to help the voicing of the chords. Tchaikovsky is the master of mood in music from the composing view supreme in able to express both the saddest and happiest of moments in music. Close
Debussy’s Arabesque No. 1 arranged for saxophone quartet, comprising soprano, alto, tenor and baritone saxophones sounding in the key of F. This is Show More...
Debussy’s Arabesque No. 1 arranged for saxophone quartet, comprising soprano, alto, tenor and baritone saxophones sounding in the key of F. This is music composed whilst Debussy was still in his 20’s. The first Arabesque has a tempo marking Andantino con moto whist the realisation for saxophone quartet plays back at an initial 112 quarter note (crotchet) beats to the minute. The music has been transposed from the original key of E to F. There are some of octave transpositions in the arrangement keeping the instrument parts within the range of the instrument. It is a three section work. Saxophone parts appropriately transposed are appended to the full music score. Much of the writing in this movement references triadic chords played as arpeggios. The intervals of the thirds and tenth (compound third) feature strongly in the parallel motion It is a three section work with the reflective middle section referencing the key of the sub-dominant. The triplet pattern is a strong feature of the movement. Instrumentalists new to playing cross rhythms need to practice playing triplet rhythms for a bar and then change it to eighth notes (quavers) so that they develop a clear sense of pulse in their playing. This a movement where the tempo often ebbs and flows in what is referred to as Tempo Rubato. This is an important aspect of performance practice and something that is first associated with the music of Chopin. Instrumentalists need to have a clear understanding of all the terms used in the score detail. 20th century music scores do generally have more graphics and terms in place to assist how the music is to be played and interpreted. A quite stunning and impressionable piece in all senses of the word with a strong sense of melody that lends itself to being arranged for an ensemble such as a clarinet quartet. Debussy composed his two Arabesques between 1888 and 1891 whilst still in his 20’s. They were originally composed for piano. They are movements that challenge the established pathways of his late romantic contemporaries. They are often described as early impressionist pieces although Debussy himself didn’t like references of his music using the term. Debussy has famously been described as the composer who opened the door to 20th century musical composition in the sense that his compositional approach was different to that of many of his contemporaries whose music was generally becoming increasingly dissonant. Debussy’s writing is more about exploring the beauty of sound without necessarily following the rules of harmonic writing that prevailed in the 19th century. Debussy created a new approach to composition in which beauty of sound and line were paramount exploring connections between the visual arts, nature and the environment around him His music is frequently described as being evocative in that he describes in music what he sees, hears and observes from his experiences of life. He is a composer of visual music. Debussy also lived at a time when the world as such was coming to Europe with exhibitions and as a composer he was open and influenced by the many cultures as his music suggests. Saxophone accompaniments are in place to encourage ensemble practice playing at 100-88 -100 quarter note (crotchets) beats per minute and also 104-092-104, 104-100-104, 108-100-108, 112-096-112 and 112-104-112 bpm with the tempo referring to the music as a three section work. If there are saxophonists who would like additional accompaniments in place please advise the PlentyMusic office with tempo suggestions. Whilst there are tempo changes in these accompaniments rubato playing is not as such represented. Arabesque is a term that refers to artistic decoration and line which are terms relevant to music. The art in respect to Arab culture is also extremely relevant as the term suggests having both historical and modern contexts. Spend time looking at Arabesque graphics. There are related aspects to line and position in ballet music so as a description of a piece of music the term Arabesque has several references and meaning. Close
Improve music practice routines playing J.S. Bach’s Invention 2 BWV 773 sounding in the key of C minor in an arrangement for soprano & tenor saxopho Show More...
Improve music practice routines playing J.S. Bach’s Invention 2 BWV 773 sounding in the key of C minor in an arrangement for soprano & tenor saxophone duo. The Bach Inventions as duos offer excellent practice & performance opportunities This is a melodic two part invention with ornaments in place that needs to be played with both feeling and sensitivity. The full score appropriately transposed has appended soprano & tenor saxophone parts. The realisation plays back at 52 bpm The pdf sheet music download and play-a-long mp3 accompaniments are available to download from PlentyMusic. Playing the Bach Inventions as part of a duo encourages good intonation, that is, playing in tune, in duet playing. Legato playing is required when performing this invention in what is a slow tempo and melancholy movement. There are some octave transposition in the tenor saxophone needed to keep to the instrument’s range. Bach composed much music as a teacher with the performing and teaching context often relating to his own children. Four of his sons became important composers relevant in music history because they link the baroque era with the classical. The inventions offer excellent opportunities to instrumentalists to improve their ensemble playing skill set and develop an understanding of baroque compositional processes. The inventions are uncompromising in the demands they place on performers requiring accuracy technique and concentrated listening. In the sheet music score the ornaments are indicated but do not sound in the realisation or accompaniments. Those wishing to know how the ornaments are played should refer to the piano video score on the YouTube channel. In this the ornaments have been written out as they should be played. Accompaniments are in place allowing saxophonists to participate in play-a-long ensemble activities as part of music practice routines. The soprano saxophone sounds on one side of the stereo channel and the tenor saxophone on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 58 & 60 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. Accompaniments are available with and without ornaments in place. Understand that ornaments can be interpreted differently and that performance practice is both an evolving and often reviewed subject. The music editor avoids ornaments ocurring in different voices at the same time. How ornaments are played at cadences in particular is a fascinating subject in the baroque era. Frequently players embrace an element of improvisation in their playing. The best advice is to listen to the performances and learn to discriminate as a performer between good practice and bad practice. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. Levels when they are played on different instruments may be different. 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 established in Bach’s own time. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution and other processes are evident in Bach’s inventions as in 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 ensemble movements. Close
Invention 9 BWV 780 sounding in the key of F minor but notated in the key of D minor is a challenging invention to play particularly from the note re Show More...
Invention 9 BWV 780 sounding in the key of F minor but notated in the key of D minor is a challenging invention to play particularly from the note reading point of view. There are many accidentals to read and it is easy to make music reading errors. The octave range between the parts has been maintained wherever possible but some compromises have been made with octave transpositions in the baritone saxophone part. This is an excellent movement to encourage good intonation, that is playing in tune, in duet playing. An alternative option avoiding the low A is provided for the baritone part in the ossia stave bars 30 – 31. Do feedback to PlentyMusic your opinions on our arrangements and possible improvements that can be made. A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. Playing the relevant transposed scale in both its melodic and harmonic forms would be the best preparation for playing this movement. In the sheet music score the ornaments are indicated but do not sound. The realisation plays back at 56 quarter note or crotchet beats per minute. Accompaniments are in place allowing saxophone players to participate in ensemble activities as part of practice routines. The alto saxophone sounds on one side of the stereo channel and the baritone saxophone on the other. The accompaniment tracks play back at 52, 54, 56, 58, 60, 62 & 64 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. In the keyboard video score, which saxophonists 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 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 key system. 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 ensemble movements. Close
Invention 9 BWV 780 sounding in the key of F minor is a challenging invention to play particularly from the note reading and voice leading point of vi Show More...
Invention 9 BWV 780 sounding in the key of F minor is a challenging invention to play particularly from the note reading and voice leading point of view. There are many accidentals to read and it is easy to make music reading errors. The octave range between the parts has been maintained wherever possible but some compromises have been made with octave displacements in the tenor saxophone part. This is an excellent movement to encourage good intonation in duet playing. A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. Playing the G minor scale in both its melodic and harmonic form will be good preparation for playing this movement. In the sheet music score the ornaments are indicated but do not sound. The realisation plays back at 56 quarter note or crotchet beats per minute. Accompaniments are in place allowing saxophone players to participate in ensemble activities as part of practice routines. The soprano saxophone sounds on one side of the stereo channel and the tenor saxophone on the other. The accompaniment tracks play back at 54, 56, 58, 60, 62 & 64 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. In the keyboard video score, which saxophonists 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 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 key system. 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 ensemble movements. Close
J .S. Bach’s Invention 11 BWV 782 arr. soprano & tenor saxophone duo is a work exploring the minor scale. The chromatic element in the movement is s Show More...
J .S. Bach’s Invention 11 BWV 782 arr. soprano & tenor saxophone duo is a work exploring the minor scale. The chromatic element in the movement is strong and the accidentals make this a challenging score to both read and commit to memory. The sounding key is G minor which is the key for the original piano version. The full score and attached parts have been transposed. The best preparation for playing this movement is to play the minor scale in both its forms at the sounding pitch. In this score ornaments are not in place. The playback score in the arrangement for soprano and tenor saxophones has a tempo of 60 quarter note or crotchet beats to the minute. The suggestion is that the movement can be played both at slower and faster tempo. The inventions are concentrated demanding movements to play in an ensemble context but excellent for encouraging listening skills, good intonation and accurate playing. The movement is probably best learnt without the ornaments in place in the first instance. Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing does need to be avoided. Accompaniments are in place allowing saxophone players to participate in ensemble activities as part of practice routines. Each clarinet sounds on one side of the stereo channel with the accompaniment tracks playing back at 56, 58, 60, 62, 64, 66 and 68 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks Instrumentalists should spend time listening to performances of the work by a range of musical instruments to understanding playing approaches. 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. 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 and improve their listening skills will find this an excellent study to copy simply because of the many accidentals that require attention from the listening and notation point of view. Accurate notation will suggest an excellent understanding of the staff notation system. Close
J.S. Bach’s Invention 14 BWV 785 arranged for soprano and tenor saxophone duo sounding in the original key of F. An excellent movement to improve e Show More...
J.S. Bach’s Invention 14 BWV 785 arranged for soprano and tenor saxophone duo sounding in the original key of F. An excellent movement to improve ensemble playing and intonation requiring saxophone players to listen to each other and be constantly aware of the eighth note or quaver pulse. This is a challenging rhythmical work and a movement in which figuration is a substitute for ornamentation. Players need to have a vision and understanding of the phrasing needed before playing this movement. In this arrangement the Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 52 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. There are a number of octave transpositions in the tenor saxophone 2 part enabling the part to be kept to the instruments range. Accompaniments are in place allowing alto saxophone players to participate in ensemble activities as part of practice routines. The soprano saxophone sounds on one side of the stereo channel and the tenor saxophone 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 59 and 61 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations 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 key journey. Inversion, repetition, sequence, transposition, 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 secure performing techniques whatever the instrument being played. Close
J.S. Bach’s Invention 14 BWV 785 arranged for tenor saxophone duo sounding in the original key of Bb. This is a challenging rhythmical work and a mo Show More...
J.S. Bach’s Invention 14 BWV 785 arranged for tenor saxophone duo sounding in the original key of Bb. This is a challenging rhythmical work and a movement in which figuration is a substitute for ornamentation. This is an excellent movement to improve ensemble playing and intonation requiring saxophone players to both listen to each other and to be constantly aware of the eighth note or quaver pulse. Players need to have a vision and understanding of the phrasing needed before playing this movement. As the tenor saxophone 2 has been transposed down an octave the two parts are much closer to each other in the octave sense. Indivual parts appropriately transposed are appended to the full score. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 50 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. There are a number of octave transpositions in the tenor saxophone 2 part enabling the part to be kept to the instruments range. Accompaniments are in place allowing tenor saxophone players to participate in ensemble activities as part of practice routines. Tenor saxophone 1 sounds on one side of the stereo channel and the tenor saxophone 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 59 and 61 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations 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 key journey. Inversion, repetition, sequence, transposition, 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 secure performing techniques whatever the instrument being played. Close
J.S. Bach’s Invention 14 BWV 785 arranged for alto saxophone duo sounding in the original key of F. This is a challenging rhythmical work and a move Show More...
J.S. Bach’s Invention 14 BWV 785 arranged for alto saxophone duo sounding in the original key of F. This is a challenging rhythmical work and a movement in which figuration is a substitute for ornamentation. This is an excellent movement to improve ensemble playing and intonation requiring saxophone players to both listen to each other and to be constantly aware of the eighth note or quaver pulse. Players need to have a vision and understanding of the phrasing needed before playing this movement. As the alto saxophone 2 has been transposed up an octave the two parts are much closer to each other in the octave sense. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 52 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. There are a number of octave transpositions in the alto saxophone 2 part enabling the part to be kept to the instruments range. Accompaniments are in place allowing alto saxophone players to participate in ensemble activities as part of practice routines. Alto saxophone 1 sounds on one side of the stereo channel and the alto saxophone 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 59 and 61 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations 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 key journey. Inversion, repetition, sequence, transposition, 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 secure performing techniques whatever the instrument being played. Close
J.S.Bach’s Invention 8 BWV 779 arranged soprano & tenor saxophones. One of the most popular of the two part inventions with scale runs and chord sha Show More...
J.S.Bach’s Invention 8 BWV 779 arranged soprano & tenor saxophones. One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has individual parts appended to the full score. Accompaniments are also in place to help players improve their technique and ensemble playing skills. The realisation plays back at 88 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Saxophone 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. Music cannot be played quickly until it can be played slowly. There are a few octave transpositions in the tenor saxophone part to keep to the instruments range Ornaments are not generally featured in this movement whilst the realisation plays back at 88 quarter note or crotchet beats to the minute. Accompaniments are in place allowing trumpet and trombone players to participate in ensemble activities as part of practice routines. The trumpet sounds on one side of the stereo channel and the trombone on the other. The accompaniment tracks play back at 76, 80, 84, 88, 92 and 96 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. 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 especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. 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 harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in 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 ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. Close
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for saxophone quartet comprising so Show More...
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for saxophone quartet comprising soprano, alto, tenor and baritone saxophones. Individual instrument parts are attached to the full score which is available from PlentyMusic as a pdf download. If circumstances arise then there the music could be performed by an ensemble with each part played by more than one instrument. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. Those who enjoy improvising can always record their work can send it as an mp3 to the PlentyMusic office for feedback. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score which is available to view on the PlentyMusic YouTube channel. This is music that is very appropriate music for a solemn processional in a social context context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor observes that instrumental arrangements of a vocal piece are invariably played at a faster tempo. This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. There are 4 accompaniments in place all playing at 66bpm but allowing for each saxophone to role play performing the piece in practice routines. Close
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for saxophone quartet comprising soprano Show More...
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for saxophone quartet comprising soprano, 2 alto and baritone saxophones sounding in the key Eb with the PlentyMusic realisation of the sheet music score playing back at 76 quarter note (crotchet) beats to the minute. The free sheet music score available from PlentyMusic has individual parts appended to the full score. Saxophonists 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. Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the website. The function of these accompaniments is to provide an ensemble playing experience for soprano saxophone players in a home studio situation. The alto saxophone parts are quite challenging to play and so an introductory 2 bar wood block introduction can be heard on the accompaniment mp3. 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 and is an excellent piece for the soprano saxophone player to memorise. 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
Sinfonia 8 BWV 794 arr. saxophone trio Bach J.S. Sinfonia 8 BWV 794 arranged for saxophone trio of soprano, alto and baritone saxophones. The Sinfon Show More...
Sinfonia 8 BWV 794 arr. saxophone trio Bach J.S. Sinfonia 8 BWV 794 arranged for saxophone trio of soprano, alto and baritone saxophones. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. Download sheet music and accompaniments from PlentyMusic. The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration and a movement that can be played at a range of tempi. Saxophone parts appropriately transposed are appended to the full sheet music score. In this arrangement the soprano saxophonist plays the higher voice 1, the alto saxophonist plays the middle voice 2 and the baritone saxophonist voice 3. The trio realisation plays back at 76 quarter note or crotchet beats to the minute Ornaments have been omitted in the music scores although those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the voices The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times. The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both in playing and listening contexts. Accompaniments playing at 72, 86, 80 and 84 quarter note or crotchet beats to the minute and featuring the clarinet in Bb 2 and bass clarinet parts are available as mp3 downloads from PlentyMusic. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences occurring in bars 7, 15 and 23. Close
F.J. Gossec’s Tambourin arranged for saxophone quintet. Improve music practice routines by downloading sheet music and piano accompaniments from Pl Show More...
F.J. Gossec’s Tambourin arranged for saxophone quintet. Improve music practice routines by downloading sheet music and piano accompaniments from PlentyMusic. A short but very appealing movement ideal as an encore for a well prepared and competent saxophone group. The arrangement is scored for soprano, 2 alto tenor and baritone saxophones. The dance element is particular strong in French music and this is a dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 112 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at a brisk tempo. There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals. A performance piece to challenge solo players to step up to advanced level standards although rhythmical and articulation aspects can be micro-managed in presenting the movement for performance to an audience There are some rhythmic options that can be explored in the clarinet in Bb 1 part in the section 51-57. The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity 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. Individual parts for the 5 instruments are appended to the full score in the pdf download. Accompaniments / backing tracks are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute giving the soprano saxophonist the opportunity to practice in context. 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. France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
F.J. Gossec’s Tambourin arranged for soprano saxophone and piano. Improve music practice routines by downloading sheet music and piano accompanimen Show More...
F.J. Gossec’s Tambourin arranged for soprano saxophone and piano. Improve music practice routines by downloading sheet music and piano accompaniments from PlentyMusic. A short but very appealing movement ideal as an encore for the competent soloist well warmed up and prepared to engage with the challenges of presenting a concert 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 just some of the performance challenges and considerations. The dance element is particular 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 chosen not to indicate the tempo in the music score using an appropriate Italian term but players do 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. A performance piece to challenge players to step up to advanced level standards although rhythmical and articulation aspects can be managed in presenting the movement for performance to an audience. There are some rhythmic options that can be explored in the section 51- 57 The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semiquavers 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. A soprano saxophone part is appended to the full score in the pdf download. Piano accompaniments are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute. 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. France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 79 Show More...
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790) for saxophone trio. The arrangement is scored for soprano, alto and baritone saxophones As there is a strong chromatic element in the writing careful attentions needs to be paid to the reading of the notes and particularly the duration of the notes. The saxophone trio realisation plays back at 42 quarter note or crotchet beats to the minute. This is an excellent ensemble piece for developing good intonation (playing in tune) in group music making contexts. No ornaments are indicated in this arrangement. Those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times. The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context. Accompaniments that feature the alto and baritone saxophone parts are available playing at 40, 42, 44 and 46 quarter note or crotchet beats to the minute are available as mp3 downloads. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for saxophone trio of of soprano, alto and baritone saxophones This trio version Show More...
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for saxophone trio of of soprano, alto and baritone saxophones This trio version realisation plays back at 56 quarter or crotchet beats to the minute. The sinfonias are conceived in three parts or voices and are excellent ensemble pieces encouraging players to listen to each other. The movement should not be played too quickly. The music editor’s advice is that all players need to have the clearest of intentions regarding the articulation of the lines and the range of dynamics. Whilst movements need to be played with control there also needs to be a lightness in the playing approach. The movement needs to be played, in the first instance, with an awareness of the quarter note or crotchet pulse. Ornaments have not been marked in the sheet music score but they can be added by players who are familiar with the performance practice of the time. The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for three instruments The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution. For all musicians it is important to understand these terms in both a playing and listening context. Accompaniments are available featuring the alto and baritone saxophone providing opportunity for soprano saxophone players to develop their ensemble playing in a home practice situation. They play at 56, 60, 64 and 68 quarter or crotchet beats notes to the minute They are recorded at 256kbps and a two bar introduction gives the pulse Please feedback your experience both positive and negative to PlentyMusic. Close
An intermediate level arrangement for saxophone quintet of a movement from a Mendelssohn organ sonata. Scored for soprano, 2 alto, tenor and baritone Show More...
An intermediate level arrangement for saxophone quintet of a movement from a Mendelssohn organ sonata. Scored for soprano, 2 alto, tenor and baritone saxophones, individual parts for instrumentalists are appended to the full score available as a pdf download from PlentyMusic. mp3 accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute enabling soprano saxophone players to participate in ensemble activities as part of their practice routines. Should more accompaniments be needed possibly for other instruments in the ensemble please advise the PlentyMusic Office. 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 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. The realisation plays back at 72 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
This intermediate level arrangement from PlentyMusic for saxophone trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Show More...
This intermediate level arrangement from PlentyMusic for saxophone trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini is scored for a combination of soprano, alto and tenor saxophones. Giardini’s trio’s music are beautifully crafted works and need to be re-discovered and played. The tempo marking in the sheet music score is Adagio whilst the realisation of the score plays back at 44 dotted quarter (crotchet) notes to the minute. The chromatic element is a feature in the writing. Accompaniments are available for the soprano saxophone playing at 42, 44, 46 and 48 dotted quarter (crotchet) note beats to the minute. If additional accompaniments are required for alto and tenor saxophone practice please advise the PlentyMusic Office. 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 and the music editor is aware of at least one please do advise the PlentyMusic Office with an mp3 recording of a performance or rehearsal or even a sheet music 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 music centres of Europe. After leaving England in 1784 for Naples his career faltered due mainly to changes in secure financial circumstances. Close
The Minuet & Trio in Eb by Franz Schubert is an excellent performance piece and this arrangement is for saxophone quartet comprising soprano, 2 alto a Show More...
The Minuet & Trio in Eb by Franz Schubert is an excellent performance piece and this arrangement is for saxophone quartet comprising soprano, 2 alto and tenor saxophones. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. Individual instrument parts are appended to the full score which can be downloaded as pdf file from the PlentyMusic website. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the chamber music scores is 116 quarter note beats to the bar with the Minuet and Trio played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. The movement was originally a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small ornamental notes in bar 41 do not sound in the realisation and possibly are best not added until the movement can be played competently. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases predominantly feature. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Should any changes, re-scoring or arrangements for another instrument grouping be needed please contact the PlentyMusic Office and the music editor will respond to the request. Close
This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for soprano, alto & tenor saxophon 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 for soprano, alto & tenor saxophone, of the first section of the piece, the melody is played by the soprano saxophone while the chords and bass are played by the alto saxophone and tenor saxophone respectively. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and the sounding key is F The rondo was composed by Clementi, known in his own time as a teacher, composer, performer and even as a manufacturer of pianos spending most of his adult life living in England. His Opus 36 Sonatinas are a rich source of music for piano players. A rondo is a piece with a recurring theme although only the A or first section is featured in this improver level arrangement intended to introduce players of these instruments to ensemble playing. Accompaniments for alto saxophone are in place requiring the player to contribute the middle part. Close
