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Jesu Joy in 8 arr. two acoustic guitars

This is a simplified and shortened version of one of J. S. Bach’s famous pieces based on a chorale (hymn) melody arranged for two acoustic guitars w Show More...

This is a simplified and shortened version of one of J. S. Bach’s famous pieces based on a chorale (hymn) melody arranged for two acoustic guitars with both notated and tab parts. 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. The sub grouping of the 8/8 time signature is 3+3+2 which is a rhythmic template often used in much popular music of the late 1950’s and 1960’s and provides very good opportunities to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Close

Giga Opus 5 arr. classical guitar duo

An uplifting trio arrangement for classical guitar duo of the Giga from Corelli’s Opus 5 Violin Sonata No.9. In 12/8 time the piece does need to be Show More...

An uplifting trio arrangement for classical guitar duo of the Giga from Corelli’s Opus 5 Violin Sonata No.9. In 12/8 time the piece does need to be played with energy and a suggested tempo of 104 dotted quarter notes (crotchet) beats to the minute is suggested and has been used in the realisation. Repeats are indicated in the score but have not been used in the realisation. Score detail has been omitted in the sheet music score although this is a usual feature of baroque music scores. Playing the A major scale and arpeggios would be good preparation for playing this work. The baroque purists might object but there is great potential in performing this music in contemporary contexts. The arrangement very much keeps to the composer’s intention in terms of the melodic and bass writing. There are some beautiful shapes to play and there is a considerable amount of sequential writing. Ornaments have been written out in the melody line simply to add clarity to the score. The guitar accompaniment features largely 4 note chords in first position. The chord The fact that the fifth is omitted in some chords suggests that textural considerations were always considered in the composing process. The chords generally change every beat of the bar - this describes what is referred to as the harmonic rhythm and is a fairly consistent feature in the movement. Composers in Corelli's time provided a melody and bass line with what was termed a figured bass notated below the bass clef. The figured bass was a series of small numbers and accidendal signs which indicated to the keyboard player usually a harpsichordist in sonata da camera (chamber sonata) the chords that were needed to accompany the written out melody and bass. This part was referred to as the continuo. What the music editor particularly likes about this movement is its contemporary appeal and its suitability to be played by many different combinations of instruments. As a performance piece it has clear intention, communication and direction Corelli 1653 – 1713 was a Rome based composer and violinist identified with the middle baroque period in music history. Corelli did not publish a great amount of music but he was meticulous in his compositional approach. The twelve violin sonatas in the Opus 5 collection were published in 1700. Close

Sinfonia 2 BWV 788 arr. 3 classical guitars

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for classical guitar trio guitar. In the pdf download the attached parts have both notated & TAB scor Show More...

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for classical guitar trio guitar. In the pdf download the attached parts have both notated & TAB scores for guitar players. In the arrangement the music has been transposed to the key of E minor with the full range of the instruments explored. The TAB scores attached are a literal interpretation of the note positions and guitarists well may feel that the suggestions can be improved. For those who can provide a better option please send an updated TAB chart to PlentyMusic and we will upload it with an acknowledgement. The realisation playback at 60 dotted quarter note or crotchet beats to the minute. Remember that good music performances come from good preparation. In this version ornaments have been omitted. Playing the E 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 (4x3 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 sound of classical guitar 2 and 3 enabling the classical guitar 1 player to enjoy ensemble music as part of routine practice. There is a one bar click track sounding on the woodblock as an intro on the mp3 tracks. It is important to keep to the written note durations. 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. 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 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 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. 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

Sinfonia 2 BWV 788 arr. 2 electric guitars & 4-string bass guitar

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for 2 electric guitars & 4-string bass guitar. In the pdf download the attached parts have both notat Show More...

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for 2 electric guitars & 4-string bass guitar. In the pdf download the attached parts have both notated & TAB scores for guitar players. In the arrangement the music has been transposed to the key of E minor with the full range of the instruments explored. The TAB scores attached are a fairly literal interpretation of the note positions and guitarists well may feel that the suggestions can be improved. For those who can provide a better option please send an updated TAB chart to PlentyMusic and we will upload it with an acknowledgement. The realisation playback at 60 dotted quarter note or crotchet beats to the minute. Remember that good music performances come from good preparation. In this version ornaments have been omitted. Playing the E 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). Accompaniments are in place playing at 56, 58, 60, 62 & 64 dotted quarter note (crotchet) beats per minute (bpm). They feature the sound of the electric guitar 2 & 4-string bass enabling the electric guitar 1 player to enjoy ensemble music as part of routine practice. There is a one bar click track sounding on the woodblock as an intro on the mp3 tracks. It is important to keep to the written note durations. 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. 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 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 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. 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 arr. classical | acoustic guitar trio + TAB

España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina arranged for acoustic or classical guitar trio. One of the most familiar pieces Show More...

España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina arranged for acoustic or classical guitar trio. 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. Instrument parts are appended to the full sheet music score, guitar 3 has dropped d tuning. Accompaniments are in place featuring acoustic guitars are available as mp3 downloads playing back at 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 these professionally prepared resources. The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. In this trio version the introduction has been shortened and the chords played on the guitar 2 part have been voiced appropriate for the guitarist to be playing in essentially first position. 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 three guitarists. 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

España Cañi | Spanish Gypsy Dance | Paso-Doble arr. classical or acoustic guitar trio

España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina arranged for acoustic or classical guitar trio. One of the most familiar pieces Show More...

España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina arranged for acoustic or classical guitar trio. 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. Instrument parts are appended to the full sheet music score, guitar 3 has dropped d tuning. Accompaniments are in place featuring acoustic guitars are available as mp3 downloads playing back at 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 these professionally prepared resources. The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. In this trio version the introduction has been shortened and the chords played on the guitar 2 part have been voiced appropriate for the guitarist to be playing in essentially first position. 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 three guitarists. 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

Serenata Española (Impressions of Spain) arr. 4 acoustic guitars & bass guitar

Joaquin Malats Serenata Española from his Impressions of Spain arr. 4 acoustic guitars & bass guitar Individual instrument parts are appended to the Show More...

Joaquin Malats Serenata Española from his Impressions of Spain arr. 4 acoustic guitars & bass guitar Individual instrument parts are appended to the full sheet music score in the pdf download. #sheetmusic & accompaniments download link: coming soon Use the signing up free credit facility to download the score and parts & possibly an accompaniment. A sunny piece that features many characteristics typical of Spanish music. There is no reason why the parts cannot be doubled to make this an exciting ensemble piece. There are many times of guitar that can be incorporated into a playing group making this a great learning piece for so many guitarists. Whatever guitar types are available can be used & there is no reason why a mix of guitars cannot be used with classical, folk, steel, and electric guitars being substituted. As a concert piece classical guitars supported by either an acoustic or electric bass instrument would be ideal. Scores can be printed out with 2 pages per sheet offering an opportunity to save on page turning. Accompaniments are in place enabling the guitar 1 part to practice and play as part of an ensemble. They play at 104, 108,112,116 & 120 bpm. There is a 4 bar click track to prepare players for this ensemble experience. All instruments playing in this arrangement create the sound by plucking the strings. In this arrangement the long trill in the guitar 1 has been omitted simply because a long trill is hard to sustain on an acoustic instrument. Remember that the classical guitar and bass guitar are transposing instruments sounding an octave lower than written in the music score. 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 particularly the guitar 2 & 3 parts. Where there are challenges with stretches in the guitar parts with more than one note being played the instrumentalist needs to chose or be advised on the most appropriate option. 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 arrangement has been transposed from the key of G minor to A 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 A 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. Close

Serenata Española (Impressions of Spain) arr. mandolin, 2 classical guitars, cello playing pizzicato & upright bass

Joaquin Malats Serenata Española from his Impressions of Spain arr. mandolin, 2 classical guitars, cello playing pizzicato & upright bass. Individual Show More...

Joaquin Malats Serenata Española from his Impressions of Spain arr. mandolin, 2 classical guitars, cello playing pizzicato & upright bass. Individual instrument parts are appended to the full sheet music score in the pdf download. Use the signing up free credit facility to download the score and parts. A sunny piece that features many characteristics typical of Spanish music. There is no reason why the parts cannot be doubled to make this an exciting ensemble piece. All instruments playing in this arrangement create the sound by the plucking the strings. In this arrangement mandolin players are required to tremolo rather than trill on the long notes. Remember that the classical guitar and double bass are transposing instruments sounding an octave lower than written in the music score. 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. Where there are challenges with stretches in the guitar & cello parts with more than one note being played the instrumentalist needs to chose or be advised one the most appropriate option. 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 arrangement has been transposed from the key of G minor to A 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 A 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 challenged. Close

Nola arr guitar duo + TAB

Nola by Felix Arndt arr. guitar duo + TAB. The composition dates from 1915. It is frequently referred to as the first piece of novelty music an idiom Show More...

Nola by Felix Arndt arr. guitar duo + TAB. The composition dates from 1915. It is frequently referred to as the first piece of novelty music an idiom that emerged during the ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit. This is the perfect “party piece.” Arndt was a New York based composer and pianist who died during the Spanish Flu epidemic of 1919. Guitar parts are appended to the full score in the pdf sheet music download. Guitar accompaniments are in place allowing guitars 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 guitar accompaniment is quite playable and not nearly as difficult as the solo. Classical, steel and electric guitar are all appropriate although an acoustic sound has been used in the accompaniments. A TAB score is also available in this guitar duo version. Appreciate that there are some octave transpositions in the parts required to keep to the range of the instrument. Sections need to be played at the same tempo and there is little opportunity for slowing down at the end of phrases and sections. The TAB score does have its limitations in that it is just a rather literal interpretation of the parts. There are probably better options for guitar players. In the TAB part the triplet numbers have been hidden to avoid confusion. This is music that moves along quickly but also needs to played in a completely relaxed manner. 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 both the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms. Swing playing identifies more with the 1920’s so this is definitely music ahead of its time. The playing style of the bass and chords is derived from ragtime. 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 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 year scores and ten he could have lived until 1959 and would have been a contemporary with so many other greats. It is also ironic because1959 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 several dance move references in the music The triplet swing pattern imbues this music. Close

Nola arr.guitar duo

Nola by Felix Arndt arr. guitar duo. The composition dates from 1915 and is frequently referred to as the first piece of novelty music an idiom that e Show More...

Nola by Felix Arndt arr. guitar duo. The composition dates from 1915 and is frequently referred to as the first piece of novelty music an idiom that emerged from the ragtime era. Light and breezy in character it is a style of music very much intended to lift the mood and spirit. This is the perfect “party piece.” Arndt was a New York based composer and pianist who died during the Spanish Flu epidemic of 1919. Guitar parts are appended to the full score in the pdf sheet music download. Guitar accompaniments are in place allowing guitars 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 guitar accompaniment is quite playable and not nearly as difficult as the Guitar 1 solo. Classical, steel and electric guitar are all appropriate although an acoustic sound has been used in the #PlentyMusic recordings. Appreciate that there are some octave transpositions in the parts required to keep to the range of the instrument. Sections need to be played at the same tempo and there is little opportunity for slowing down at the end of phrases and sections. This is music that moves along quickly but also needs to played in a completely relaxed manner. 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 both the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms. Swing playing identifies more with the 1920’s so this is music that can be viewed as being ahead of its time. The playing style of the bass and chords is derived from ragtime. 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 key plan can be summarised as I – i – I – IV - I The novelty era has a strong connection with ragtime particularly in the choices of 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 year scores 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 several dance patterns referenced in the music. Close

Invention 9 arr. electric guitar & bass guitar duo

J.S. Bach’s Invention 9 BWV 780 arranged electric guitar & bass guitar duo in its original key of F minor. A challenging invention to play particula Show More...

J.S. Bach’s Invention 9 BWV 780 arranged electric guitar & bass guitar duo in its original key of F minor. A challenging invention to play particularly from the note reading point of view. The #sheetmusic video plays back at 58 bpm and the music is presented in both staff notation & TAB. The arrangement is based on the original piano score. There are many accidentals to read and it is easy to make music reading errors. A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. In the sheet music score the ornaments are indicated but do not sound. The ornamentation in place is placed at the important cadence points in the movement. In the keyboard video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. The full score is presented in staff notation and the parts with the option of staff notation and TAB. Bass guitar players may well want to experiment with the octave choices in the higher sounding sections bars 5-7 and elsewhere in the movement. Accompaniments are in place allowing guitarists to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar 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. Playing the music of Bach is challenging and his style is demanding and uncompromising in the consistency required to perform it accurately. As a composer Bach is not so much an innovator but one of those who brings all the musical elements of his time together and takes them to an altogether much higher artistic and technical level. 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 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 arr. arr. classical guitar duo

Invention 9 BWV 780 arranged for classical guitar duo in the key of F minor is a challenging invention to play particularly from the note reading and Show More...

Invention 9 BWV 780 arranged for classical guitar duo 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 arrangement is based on the original piano score with some necessary octave transpositions in place in the guitar 2 part. Guitarists have the option of reading either from a staff notation or TAB score attached to the full score A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. In the sheet music score the ornaments are indicated but do not sound. The ornamentation in place is placed at the important cadence points in the movement. In the keyboard video score, which guitarists 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 58 quarter note or crotchet beats per minute. Accompaniments are in place allowing classical guitar players to participate in ensemble activities as part of practice routines. Classical guitar 1 sounds on one side of the stereo channel and the classical guitar 2 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. Playing the music of Bach is challenging and his style is demanding and uncompromising in the consistency required to perform it accurately. As a composer Bach is not so much an innovator but one of those who brings all the musical elements of his time together and takes them to an altogether much higher artistic and technical level. 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 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 10 arr. electric guitar & bass guitar duo

J.S.Bach’s Invention 10 BWV 781 in an arrangement for electric & bass guitar duo in the original key of G. This Invention features many musical sha Show More...

J.S.Bach’s Invention 10 BWV 781 in an arrangement for electric & bass guitar duo in the original key of G. This Invention features many musical shapes based on chords and consequently lends itself to chord playing instruments. The realisation plays back at 84 dotted quarter (crotchet) note beats to the minute. Whilst score detail is generally not in place on Bach scores although it is necessary for instrumentalists to have a clear intention of how the music is to be played. Guitar players have the option of using either a notated or TAB score. As notes can be played in different positions on the electric and bass guitar fretboards players may well want to review the suggestions given in the PlentyMusic TAB scores. Players should listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. Remember also that movements cannot be played quickly until they be played slowly! In the video score, ornaments are indicated by symbols but do not sound in the playback. For instrumentalists wishing to incorporate ornamentation into their performances refer to the piano realisation featured on our YouTube channel which has the ornamentation written out exactly as the music editor suggests they should be played. https://youtu.be/xuQK5i2lf44 Ornamentation is an aspect of performance that invites different and frequently contrasting interpretations. Bach’s music belongs to the baroque era and whilst the composer himself was quite clear about the ornaments he used and how they should be played later editors of his music have often added to original intentions. The inventions are also probably best studied in the first instance without ornaments in place. An additional factor is that the intended instrument on which the inventions were played, the harpsichord, is one that does not feature sustained sounds. Long notes as such require some sort of addition, hence the need for ornamentation. Another view or approach to ornamentation is that apart from adding to the music they should have a sense of being improvised. The music editor has chosen not to double ornaments where they occur in both voices simply because it lessens the contrast in the parts. Accompaniments are in place allowing guitarists to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and bass guitar on the other. The accompaniment tracks play back at 72, 76, 80, 84, 88, 92, 96 100 104 and 108 dotted quarter note (crotchet) beats per minute. There is two bar count in /click track at the beginning of the accompaniment tracks. There are three dotted quarter or crotchet beats to the bar indicated by the 9/8 time signature. Should more accompaniments be required at either slower or faster tempi please advise the PlentyMusic office. Whilst the ornaments are indicated in the sheet music score they do not sound in the accompaniment scores. For those intending to play the ornaments refer to the piano sheet music video on our YouTube channel. In this score the ornaments have been written out as they should be played. https://youtu.be/xuQK5i2lf44 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 and 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 technique. Close

Invention 10 arr. mandolin & classical guitar duo

J.S.Bach’s Invention 10 BWV 781 in an arrangement for mandolin & classical guitar in the original key of G. This Invention features many musical sh Show More...

J.S.Bach’s Invention 10 BWV 781 in an arrangement for mandolin & classical guitar in the original key of G. This Invention features many musical shapes based on chords and consequently lends itself to chord playing instruments. The realisation plays back at 84 dotted quarter (crotchet) note beats to the minute. Whilst score detail is generally not in place on Bach scores although it is necessary for instrumentalists to have a clear intention of how the music is to be played. Both the mandolin and classical guitar players have the option from reading a notatated or TAB score. Other guitars can be substituted for the suggested classical guitar Players should listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. Remember also that movements cannot be played quickly until they be played slowly! In the video score, ornaments are indicated by symbols but do not sound in the playback. For instrumentalists wishing to incorporate ornamentation into their performances refer to the piano realisation featured on our YouTube channel which has the ornamentation written out exactly as the music editor suggests they should be played. https://youtu.be/xuQK5i2lf44 Ornamentation is an aspect of performance that invites different and frequently contrasting interpretations. Bach’s music belongs to the baroque era and whilst the composer himself was quite clear about the ornaments he used and how they should be played later editors of his music have often added to original intentions. The inventions are also probably best studied in the first instance without ornaments in place. An additional factor is that the intended instrument on which the inventions were played, the harpsichord, is one that does not feature sustained sounds. Long notes as such require some sort of addition, hence the need for ornamentation. Another view or approach to ornamentation is that apart from adding to the music they should have a sense of being improvised. The music editor has chosen not to double ornaments where they occur in both voices simply because it lessens the contrast in the parts. Accompaniments are in place allowing mandolin & guitar players to participate in ensemble activities as part of practice routines. The mandolin sounds on one side of the stereo channel and the classical guitar on the other. The accompaniment tracks play back at 72, 76, 80, 84, 88, 92, 96 100 104 and 108 dotted quarter note (crotchet) beats per minute. There is two bar count in /click track at the beginning of the accompaniment tracks. There are three dotted quarter or crotchet beats to the bar indicated by the 9/8 time signature. Mandolin music often features tremolo playing and certainly in the long trills there is opportunity to explore this aspect mandolin technique. Should more accompaniments be required at either slower or faster tempi please advise the PlentyMusic office. Whilst the ornaments are indicated in the sheet music score they do not sound in the accompaniment scores. For those intending to play the ornaments refer to the piano sheet music video on our YouTube channel. In this score the ornaments have been written out as they should be played. https://youtu.be/xuQK5i2lf44 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 and 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 technique. Close

Invention 10 arr. classical guitar duo

J.S.Bach’s Invention 10 BWV 781 in an arrangement for classical guitar duo in the original key of G. This Invention features many musical shapes ba Show More...

J.S.Bach’s Invention 10 BWV 781 in an arrangement for classical guitar duo in the original key of G. This Invention features many musical shapes based on chords and consequently lends itself to chord playing instruments. The realisation plays back at 84 dotted quarter (crotchet) note beats to the minute. Whilst score detail is generally not in place on Bach scores although it is necessary for instrumentalists to have a clear intention of how the music is to be played. Players should listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. Remember also that movements cannot be played quickly until they be played slowly! In the video score, ornaments are indicated by symbols but do not sound in the playback. For instrumentalists wishing to incorporate ornamentation into their performances refer to the piano realisation featured on our YouTube channel which has the ornamentation written out exactly as the music editor suggests they should be played. https://youtu.be/xuQK5i2lf44 Ornamentation is an aspect of performance that invites different and frequently contrasting interpretations. Bach’s music belongs to the baroque era and whilst the composer himself was quite clear about the ornaments he used and how they should be played later editors of his music have often added to original intentions. The inventions are also probably best studied in the first instance without ornaments in place. An additional factor is that the intended instrument on which the inventions were played, the harpsichord, is one that does not feature sustained sounds. Long notes as such require some sort of addition, hence the need for ornamentation. Another view or approach to ornamentation is that apart from adding to the music they should have a sense of being improvised. The music editor has chosen not to double ornaments where they occur in both voices simply because it lessens the contrast in the parts. Accompaniments are in place allowing guitarists to participate in ensemble activities as part of practice routines. Classical guitar 1 sounds on one side of the stereo channel and classical guitar 2 on the other. The accompaniment tracks play back at 72, 76, 80, 84, 88, 92, 96 100 104 and 108 dotted quarter note (crotchet) beats per minute. There is two bar count in /click track at the beginning of the accompaniment tracks. There are three dotted quarter or crotchet beats to the bar indicated by the 9/8 time signature. Contrasting guitar sounds have been used. Should more accompaniments be required at either slower or faster tempi please advise the PlentyMusic office. Whilst the ornaments are indicated in the sheet music score they do not sound in the accompaniment scores. For those intending to play the ornaments refer to the piano sheet music video on our YouTube channel. In this score the ornaments have been written out as they should be played. https://youtu.be/xuQK5i2lf44 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 and 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 technique. Close

Invention 11 arr. classical guitar duo

J .S. Bach’s Invention 11 BWV 782 arranged for classical guitar duo is a work exploring the minor scale. The chromatic element in the movement is st Show More...

J .S. Bach’s Invention 11 BWV 782 arranged for classical guitar 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 read and memorise. The pdf sheet music download has parts notated in both staff & TAB notation. The best preparation for playing this movement is to play the minor scale appropriately in both its forms slowly until the sound of each is familiar. Ornaments are not in place in this arrangement. The full music score is presented in staff notation and the attached parts are in staff notation and TAB. The guitar is an instrument where the same note can be played on different strings so players may well wish to review the rather literal translation of the notes to TAB. The playback score in this arrangement for classical guitar duo 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 classical guitar players to participate in ensemble activities as part of practice routines. Classical guitar 1 sounds on one side of the stereo channel and classical guitar 2 on the other. The accompaniment tracks play back at 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 other processes are evident in Bach’s inventions as in most music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to the 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 inventions are quite uncompromising in their demands. 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

Invention 11 arr. electric guitar & bass guitar

J .S. Bach’s Invention 11 BWV 782 arranged for electric guitar and bass guitar is a work exploring the minor scale. The chromatic element in the mov Show More...

J .S. Bach’s Invention 11 BWV 782 arranged for electric guitar and bass guitar is a work exploring the minor scale. The chromatic element in the movement is strong and the accidentals make this a challenging score to read and commit to memory. The best preparation for playing this movement is to play the minor scale appropriately transposed in both its forms slowly until the sound of each is familiar. The original keyboard version of the 15 Bach Inventions are in 15 different keys and provide excellent examples to familiarisers players with the key system. Ornaments are not in place in this arrangement. The full music score is presented in staff notation and the attached parts are in staff notation and TAB. The guitar is an instrument where the same note can be played on different strings so players may well wish to review the rather literal translation of the notes to TAB. The playback score in the arrangement for the electric guitar and bass guitar 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 electric guitar and bass guitar players to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel with the bass guitar on the other. The accompaniment tracks play 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

Invention No. 14 arr. classical guitar duo

J.S. Bach’s Invention 14 BWV 785 arranged for classical guitar duo in the original key key of Bb is a rhythmical work and a movement in which figura Show More...

J.S. Bach’s Invention 14 BWV 785 arranged for classical guitar duo in the original key key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. The classical guitar is a transposing instruments sounding an octave lower than written. There are some octave transpositions in the classical guitar 2 part to keep to the range of the instrument. Guitarists have the choice of reading a notated or TAB score. TAB scores have a useful function because they locate the position of the notes on the fretboard although the same note can be played on different strings in different positions. The PlentyMusic TAB score is a literal translation of the score and not necessarily the best solution for playing the notes. Ornaments are omitted in this movement but are replaced by challenging and rhythmic figuration. Players need to have a vision and understanding of the phrasing needed before playing this movement. 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 56 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. Accompaniments are in place allowing electric guitar and bass guitar players to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 52, 54, 59, 61 and 63 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, 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 secure performing techniques whatever the instrument being played. Close

Invention 14 arr. electric guitar & bass guitar

J.S. Bach’s Invention 14 BWV 785 arranged electric guitar & bass guitar in the key of Bb is a rhythmical work and a movement in which figuration is Show More...

J.S. Bach’s Invention 14 BWV 785 arranged electric guitar & bass guitar in the key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. Remember that the guitar and bass guitar are transposing instruments sounding an octave lower than written. There are some octave transpositions in the bass guitar part to keep to the range of the instrument. Guitarists have the choice of reading a notated or TAB score. TAB scores have a useful function because they locate the position of the notes on the fretboard although the same note can be played on different strings in different positions. The PlentyMusic TAB score is a literal translation of the score and not necessarily the best solution for playing the notes. Ornaments are omitted in this movement but are replaced by challenging and rhythmic figuration. Players need to have a vision and understanding of the phrasing needed before playing this movement. 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. The realisation plays back at 56 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. Accompaniments are in place allowing electric guitar and bass guitar players to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 52, 54, 58, 60 and 62 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, 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 secure performing techniques whatever the instrument being played. Close

J.S.Bach’s Invention 4 arr. classical guitar duo (No TAB)

J.S.Bach’s Invention 4 BWV 775 arr. classical guitar duo with a notated score as the download with guitar parts attached to the full score. In t Show More...

J.S.Bach’s Invention 4 BWV 775 arr. classical guitar duo with a notated score as the download with guitar parts attached to the full score. In the key of D minor this is an appealing work featuring an opening motif or melodic shape that combines a scale shape with the interval of a falling diminished seventh. The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written F natural but many alternate a F# with the E. The ornaments can always be omitted particularly in the early stages of learning the movement. Many guitarists edit the music score in how they play the ornaments finding it difficult to sustain the hammer technique for so long. Find a solution but do ensure that both parts and instruments are imitating each other. The voicing in this arrangement with the guitar 1 sounding an octave lower than written means that the contrapuntal lines are an octave closer together than in the original piano version. In the video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Accompaniments are in place allowing classical guitar duo players to participate in an ensemble activity as part of practice routines. Classical Guitar 1 sounds on one side of the stereo channel and Classical Guitar 2 on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual guitar parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closely related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique. This is a revision and update of a previous score posted on the website. Close

Invention 6 BWV 777 arr. guitar duo + TAB

The invention has been transposed to the key of G. The guitar as a transposing instrument sounds an octave lower than written. TAB scores are also ava Show More...

The invention has been transposed to the key of G. The guitar as a transposing instrument sounds an octave lower than written. TAB scores are also available. Accompaniments are in place allowing guitarists to participate in ensemble activities as part of their practice routines. Guitar 1 sounds on one side of the stereo channel and Guitar 2 of the other. A legato approach to playing is suggested for this invention. It is a movement that features figuration and an exploration of shapes rather than ornamentation. The two voices are frequently moving in contrary motion. This invention sounds so easy on the ear but it is a challenging to read because of the accidentals. The realisation plays back at 25 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 or the accompaniments The reading of the notes and accidentals requires attention especially in the second section and note values need to played accurately. 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 Two Part Inventions and 15 Three part Sinfonias and many of them provide excellent opportunities for duo and trio playing. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. Close

Invention 1 BWV 772 arr. classical guitar duo

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 this arrangement for two classical guitars accompaniments are in place enabling guitar players to enjoy ensemble practice as part of their music practice routines. They play at 56, 58, 60, 62 and 64 beats per minute (bpm). Guitar 1 sounds on one side of the stereo channel while Guitar 2 sounds on the other side of the stereo channel. The music has also been transposed from the originally key of C to F purely on the basis that this explores the appropriate range of the instrument. Remember too that the guitar is a transposing instrument and sounds an octave lower than written. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce and inform musicians of the composition techniques of the baroque. They are excellent pieces for developing a sound and secure technique as well as providing excellent ensemble playing opportunities. The playback tempo of the realisation is 60 beats per minute (bpm) and the music editor suggests omitting the ornaments when learning the piece. For those wishing clarification on how the ornaments should t be played refer to the piano version video score on the PlentyMusic YouTube channel. In this video score the ornaments have been written out in full to clarify how they should be played. The music editor suggests that they are probably not such a relevant addition in this arrangement. The music score is available as a pdf download from the PlentyMusic website whilst the accompaniments can be downloaded as mp3 files. The sheet music download has a Tab score in place on the appended indivual parts. The key journey of the movement 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

Valse Sentimentale arr. mandolin & classical guitar

A melody that is hauntingly beautiful characterises this encore and shortened version of Tchaikovsky’s Valse Sentimental. This intermediate level ar Show More...

A melody that is hauntingly beautiful characterises this encore and shortened version of Tchaikovsky’s Valse Sentimental. This intermediate level arrangement for mandolin and classical or acoustic is a cut down version of Opus 51 No.6. and features an alternative ending which simplifies Tchaikovsky’s original cadenza like coda. The guitar part is a simplified version of the piano part with the music transposed to the key of G. Guitar accompaniments are available playing at 40, 42, and 44 beats per minute where the beat is a dotted half note or minim. The mandolin and guitar parts are presented both in standard notation & TAB. The mandolin part does not feature the tremolo technique so characteristic of mandolin playing although they possibly could be added in the middle section. Formally this short version of the movement can be described as in ternary 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. 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 40 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. Players should be working to improve both the intonation and quality of tone in their playing. 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. The bracketed notes in the accompaniment are editorial and can be omitted. 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 in his music probably better than anybody else. Close

Serenade arr. guitar trio

Serenade by R. Hoffstetter is a popular movement from the classical repertoire that can be arranged for many different combinations of instruments. Th Show More...

Serenade by R. Hoffstetter is a popular movement from the classical repertoire that can be arranged for many different combinations of instruments. This arrangement for guitar trio requires two six string and a 4 string bass. In the PlentyMusic realisation electric guitars have been used and the pdf download has conventional notation and TAB charts in place. Improve music practice routines by downloading this sheet music score and accompaniments from PlentyMusic. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato whilst the guitar and bass accompaniments offer an appropriate contrasting accompaniment. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested. Individual parts are appended to the full score available as a pdf download from the PlentyMusic website. The repeats which are not marked in the video score do not play in the realisation or video score. mp3 piano accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments provide the guitar 1 player with the opportunity to practice in an ensemble context. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments establishing the tempo. An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. It’s a movement that gives opportunity to players to learn much about classical music from the playing, musicianship and theoretical perspectivies. 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. The ornaments, acciaccaturas (crushed notes) are probably best omitted in the early stages of playing the movement. This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency. The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity. Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close

Sinfonia 11 BWV 797 arr. classical guitar trio

Bach J.S. Sinfonia 11 BWV 797 arranged for intermediate level classical guitar trio. The Sinfonia arrangements from PlentyMusic are excellent movement Show More...

Bach J.S. Sinfonia 11 BWV 797 arranged for intermediate level classical guitar trio. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. The Sinfonia 11 transcribed from the key of Gm to Dm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration. Individual instrument parts are appended to the full music score which is available as a download from the PlentyMusic website. In this arrangement each guitar plays one of the voices or parts in the three part Sinfonia The classical guitar trio realisation plays back at 30 dotted quarter note beats or crotchet beats to the minute. Guitar accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and quality of tone. This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement as part of an ensemble. This fluidity in the rhythmic shapes possibly explains or at suggests one of the many reasons why Bach’s music is often adapted and played by jazz musicians Rehearsal marks are in place at bars 17, 33, 48 and 65 on the music score although the music editor suggests that in music of this style players will know immediately when they not quite together. While this music sounds emotional and encourages an emotional response to listeners it needs to be performed quite objectively. Ornaments have been omitted in the preparing of this music score 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 other 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 would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord. The organ which is also a keyboard instrument requiring the need for a second person to operate the bellows was essentially a church instrument The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, and sequence feature strongly in this particular sinfonia. 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 diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate cadences. Do make sure that your instrument is in tune before playing with an accompaniment. PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close

Cantilene from Organ Sonata No.11 arranged for classical guitar quartet

This arrangement for classical guitar quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for 4 classical guitars. Instrumental Show More...

This arrangement for classical guitar quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for 4 classical guitars. Instrumental parts for individual players are appended to the full score. Accompaniments are also available allowing the guitar 1 player to enjoy ensemble practice in context. There is a one bar eighth note (quaver) click track before the 3 guitars start to sound. They play back at 80, 84 and 88 eighth (quaver) notes to the minute. 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 the chromatic harmony of Brahms. In this arrangement the music has been transposed up a tone from the key of F to the key of G. 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. Guitarists should play with an awareness of an 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 in a quiet and sustained manner.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 with 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 suggests the influence of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniment. Close

Siciliana from String Trio Opus 17 No.1 arr. classical guitar trio A

An intermediatelevel arrangement from PlentyMusic for classical guitar trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Fel Show More...

An intermediatelevel arrangement from PlentyMusic for classical guitar trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini transcribed to the key of A. Giardini’s string 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 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 which can be viewed on our YouTube channel. 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) arranged classical guitar duo

Spanish Dance No. 5 by E. Granados in an arrangement from PlentyMusic for guitar duo/guitar duet. This popular and appealing intermediate level moveme Show More...

Spanish Dance No. 5 by E. Granados in an arrangement from PlentyMusic for guitar duo/guitar duet. 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. In the video score the ornaments have been written out to clarify how they should be played. 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. The arranger has generally avoided doubling the melody part played by the solo instrument in the accompaniment. piano part. 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. Accompaniments played by classical guitar 2 are available from the PlentyMusic website playing at the following beats per minute 47|94|47, 50|100|50, 53|106|53. The A section is in 6/8 (2 dotted quarter note or crotchet beats to the bar) and the B section in 3/4 (3 quarter note or crotchet beats to the bar). 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

Lascia ch’io pianga (Let me cry) arranged classical guitar quartet

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for classical guitar quartet with g Show More...

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for classical guitar quartet with guitar 4 having its 6th string tuned down to D. 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 a guitar 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. Close

Invitación (Invitation) arr. 2 mandolins and 2 acoustic guitars

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for 2 mandolins and 2 acoustic guitars is Show More...

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for 2 mandolins and 2 acoustic guitars is in the key of Em and features the Cuban habanera pattern. The music is in the original key of E minor. Individual parts for the players are appended to the full music score. It is an excellent piece for ensemble players to help their tuning and intonation by listening to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play absolutely in tune. 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 particularly in the context of an ensemble performance. 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. Where appropriate some octave transpositions have been made in the lines to keep to the best and most appropriate range of the instruments. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. but they are in place in the sheet music score. 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 68 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. Should some re-scoring be required, possibly for mandolin orchestra, please contact the PlentyMusic Office. 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

Invitación (Invitation) arr. acoustic guitar trio

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for acoustic guitar trio is in the key of Show More...

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for acoustic guitar trio is in the key of Em and features the Cuban habanera pattern. The arrangement is scored for 3 acoustic guitars ideally either 3 nylon or 3 steel strung guitars should be used. The music has been transposed is in the original key of E minor. Individual parts for the players are appended to the full music score. It is an excellent piece for ensemble players to help their tuning and intonation by listening to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play absolutely in tune. 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 particularly in the context of an ensemble performance. 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. Where appropriate some octave transpositions have been made in the lines to keep to the best and most appropriate range of the instruments. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. but they are in place in the sheet music score. 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 68 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. Should some re-scoring be required, possibly a n additional TAB score please advise the PlentyMusic Office. 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

Invitación (Invitation) arr. acoustic guitar quartet

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for acoustic guitar quartet is in the key Show More...

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for acoustic guitar quartet is in the key of Em and features the Cuban habanera pattern. The arrangement is scored for 4 acoustic guitars ideally either 4 nylon or 4 steel strung guitars should be used. The music has been transposed is in the original key of E minor. Individual parts for the players are appended to the full music score. It is an excellent piece for ensemble players to help their tuning and intonation by listening to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play absolutely in tune. 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 particularly in the context of an ensemble performance. 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. Where appropriate some octave transpositions have been made in the lines to keep to the best and most appropriate range of the instruments. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. but they are in place in the sheet music score. 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 68 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. Should some re-scoring be required, possibly a n additional TAB score please advise the PlentyMusic Office. 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

Los Tres Golpes (The Three Knocks) arr. guitar quartet

Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervantes is a movement that explores the habanera pattern. This arrangement for guit Show More...

Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervantes is a movement that explores the habanera pattern. This arrangement for guitar quartet is a great performance pieces enabling guitarists to explore many aspects of their playing particularly regarding tone, the articulation of notes and dynamic range. The realisation has a repeat played which is common when Cervantes music is performed. The tempo of the realisation is 84 bpm. The sheet music scores is also presented with a repeat in place although this is editorial. The music has been transposed from the original key of E minor to A minor. The movement can be played at a variety of tempo. The music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. 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 an art music, folk or 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 a very quick and inventive mind particularly in his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. 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. The arrangement would be best played with either 4 nylon strung guitars or 4 steel strung guitars. A mandolin can also be substituted for Acoustic Guitar 1. Close

Adiós A Cuba (Farewell to Cuba) arr. guitar trio

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This advanced level arrangement from PlentyMusic is for guitar trio. Show More...

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This advanced level arrangement from PlentyMusic is for guitar trio. It features many of the rhythmic patterns characteristic of Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. If the arrangement would benefit from some re-scoring please advise the PlentyMusic office with your suggestions. Instrumental parts are appended to the full music score which can be downloaded as a pdf. Close

Adiós A Cuba (Farewell to Cuba) arr. guitar sextet

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This intermediate level arrangement from PlentyMusic for guitar sext Show More...

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This intermediate level arrangement from PlentyMusic for guitar sextet is available as a free score. The intention is for the score to be played by 6 acoustic guitars although a upright bass / bass guitar could be substituted for Guitar 6. Ideally the ensemble would comprise either 6 nylon strung or 6 steel strung guitars. It features many of the rhythmic patterns characteristic of Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. If PlentyMusic users require some re-scoring of the movement please advise the PlentyMusic Office of your requirements. Instrumental parts are appended to the full music score which can be downloaded as a pdf. Close

Fugue in E (originally in G) BuxWV 175 arranged for guitar trio

The three part Fugue in E BuxWV 175 originates as an organ work but readily transcribes as music that can be a guitar ensemble. It is a movement featu Show More...

The three part Fugue in E BuxWV 175 originates as an organ work but readily transcribes as music that can be a guitar ensemble. 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 76 quarter note beats to the minute but the movement can be played at a quicker tempo if preferred. Individual guitar parts are appended to the full score. 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. Close

Tico-Tico arr. mandolin + TAB and acoustic guitar + TAB

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

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

Tico-Tico arr. mandolin and acoustic guitar

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

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

Norwegian Dance No.2 arr. two acoustic guitars

An arrangement two acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo o Show More...

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

Tarantella arr. 2 acoustic guitars + TAB

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

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

Tarantella arr. mandolin + TAB and acoustic guitar

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passion 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 mandolin + TAB and acoustic guitar has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have contributed music to the tarantella repertoire. Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute. Close

Tarantella arr. mandolin and acoustic guitar

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passion 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 mandolin and acoustic guitar has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have contributed music to the tarantella repertoire. Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute. Close

Tarantella arr. two acoustic guitars

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 two acoustic guitars has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have contributed music to the tarantella repertoire. Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute. Close

La biondina in gondoleta arr. two acoustic guitars + TAB

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 two acoustic guitars sounding in the key of G with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. The appended guitar parts also notated in both conventional music notation and TAB. This is an excellent performance piece because the melody is appealing and familiar. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments (Guitar 2) are available at tempos of 66, 63 and 63 dotted quarter note beats (crotchet) beats to the minute. Close

La biondina in gondoleta arr. two acoustic guitars

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 two acoustic guitars sounding in the key of G with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. This is an excellent performance piece because the melody is appealing and familiar. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments (Guitar 2) are available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. Close

La biondina in gondoleta arr. mandolin & acoustic guitar

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres 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 oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for mandolin accompanied by acoustic guitar sounding in the key of G with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. This is an excellent performance piece because the melody is appealing and familiar. The mandolin player may wish to edit the suggested tremolo playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. Close

When The Saints Go Marching In arr. two guitars and bass guitar with TAB

When The Saints Go Marching In arranged for two guitars (electric or acoustic) and bass guitar in the key of D. The playback tempo is 100 half note o Show More...

When The Saints Go Marching In arranged for two guitars (electric or acoustic) and bass guitar in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the bass player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. There are TAB scores for the Guitar 1 part and bass guitarist whilst chord shapes are indicated in the Guitar 2 part.These are appended to the full score. The accompaniment mp3 features a string bass in the playback. Close

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

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

When The Saints Go Marching In arranged for banjo, acoustic guitar and bass guitar in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the bass player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. There are conventionally notatated and TAB scores for the banjo and bass guitar parts whilst chords have also been indicated in the guitar score. Individual parts are appended to the full score. The accompaniment mp3 features a string bass in the playback. Close

The Last Rose of Summer arr. mandolin & acoustic guitar

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

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

Pieds-en-l’air arr. mandolin, acoustic guitar and string bass

This is an excellent ensemble piece although there are challenges for the guitar player. It is a challenging piece because a successful performance re Show More...

This is an excellent ensemble piece although there are challenges for the guitar player. It is a challenging piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a trio to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. Individual parts for the three instruments are appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close

Neapolitan Song arr. mandolin & acoustic guitar

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

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

Neapolitan Song arr. two acoustic guitars

This is an improver level arrangement for two acoustic guitars of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act I Show More...

This is an improver level arrangement for two acoustic guitars of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is based on the version found in Tchaikovsky’s Children’s Album Opus 39 for piano that dates from 1878. The tempo of the first section Andantino in the realisation is 100 quarter note (crotchet) beats to the minute and for the Vivace section the tempo is 120 quarter note beats to the minute. The voicing of the chord shapes for the acoustic guitar have been edited. There is an alternative ending provided for Acoustic Guitar 1. Close

Sururú na Cidade arr. mandolin, acoustic guitar and string/upright bass

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can 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. In this arrangement for mandolin, acoustic guitar and string/upright bass individual parts are appended to the full score. There are particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for mandolin, acoustic guitar and upright/string bass individual parts for the three instruments are appended to the full score. The acoustic guitar part plays a combination of countermelodies and chords. Close

Sururú na Cidade arr. two acoustic guitars with TAB and string/upright bass

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can 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 (Chorinho = 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 with 4 strings known as the cavaquino or Portuguese ukulele which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for two acoustic guitars and upright/string bass individual parts for the three instruments are appended to the full score with the guitar parts notated conventionally and with TAB. The acoustic guitar 2 part plays a combination of countermelodies and chords. Close

Sururú na Cidade arr. two acoustic guitars and string/upright bass

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can 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 (Chorinho = 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 with 4 strings known as the cavaquino or Portuguese ukulele which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for two acoustic guitars and upright/string bass individual parts for the three instruments are appended to the full score. The acoustic guitar 2 part plays a combination of countermelodies and chords. Close

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

This is an arrangement for mandolin, acoustic guitars and upright or string bass with the score formatted as a one document pdf file with individual p Show More...

This is an arrangement for mandolin, acoustic guitars and upright or string bass with the score formatted as a one document pdf file with individual parts for the three instruments appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays back at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly in this sunny piece. Close

No Bailes Más! (Dance No More) arr. two acoustic guitars & upright bass

This is an arrangement for two acoustic guitars and string or upright bass with the score formatted as a one document pdf file with individual parts Show More...

This is an arrangement for two acoustic guitars and string or upright bass with the score formatted as a one document pdf file with individual parts for the three instruments appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays back at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly in this sunny piece. Close

No Bailes Más! (Dance No More) arr. three acoustic guitars

This is an arrangement for three acoustic guitars with the score formatted as a one document pdf file with individual parts for the three acoustic gui Show More...

This is an arrangement for three acoustic guitars with the score formatted as a one document pdf file with individual parts for the three acoustic guitars appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays back at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly in this sunny piece. Close

No Bailes Más! (Dance No More) arr. three acoustic guitars + TAB

This is an arrangement for three acoustic guitars with the score formatted as a one document pdf file with individual parts for the three acoustic gui Show More...

This is an arrangement for three acoustic guitars with the score formatted as a one document pdf file with individual parts for the three acoustic guitars with TAB appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D and plays back at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly in this sunny piece. Close

Off To California arr. mandolin & acoustic guitar

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on se 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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for mandolin and acoustic guitar conventionally notated players should try and develop their memory and ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the acoustic guitar playing the bass line at tempi of (1) 132 (2) 120 and (3) 110 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close

Off To California arr. mandolin & acoustic guitar + TAB

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on se 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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for mandolin and acoustic guitar with TAB players should try and play from memory and develop their ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three guitar accompaniments are available, with repeats, playing the bass line at tempi of (1) 132 (2) 120 and (3) 110 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close

Off To California arr. two acoustic guitars

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on se 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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for two acoustic guitars performers should try and play from memory and develop their ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the acoustic guitar playing the bass line at tempi of (1) 132 (2) 120 and (3) 112 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close

Off To California arr. two acoustic guitars with TAB

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on se 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 sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for two acoustic guitars with TAB players should try and play from memory and develop their ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. Folk music scores are generally presented with minimal score detail. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the second acoustic guitar playing the bass line at tempi of (1) 132 (2) 120 and (3) 110 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close

Off To California arr. electric and bass guitar

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on 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 personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. This arrangement is notated conventionally and players will move on to possibly explore the folk rock style in their ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. The score is presented with minimal score detail as is usually the case with folk music. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the bass guitar playing the bass line at tempi of (1) 132 (2) 120 and (3) 112 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close

Off To California arr. electric and bass guitar + TAB

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 personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. This arrangement includes both conventional notation and TAB and players can possibly explore the folk rock style in their ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. The score is presented with minimal score detail as is usually the case with folk music. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the bass guitar playing the bass line at tempi of (1) 132 (2) 120 and (3) 110 quarter note (crotchet) beats to the minute.There is two bar click track introduction before the music starts to play. Close

Off To California arr. banjo & upright bass

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 personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Much folk music is played from memory and this and ensemble playing should be encouraged. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. The score is presented with minimal score detail as is usually the case with folk music. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the upright bass playing the bass line at tempi of (1) 132 (2) 120 and (3) 110 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close

Czardas arr. mandolin & acoustic guitar

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

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” which is appropriate near the end of a section and stringendo means progressively quickening in tempo. Ralentandos 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.nThere is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The music editor would value feedback on the notation of the mandolin part particularly in respect to the notation of the tremolos. There are two acoustic guitar accompaniments available (1) with repeats and (2) without repeats. Close

Santa Lucia arr. mandolin & two acoustic guitars

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. When playing the piece and there are opportunities to slow the tempo at the ends of phrases which is not indicated in the score. The realisation plays back at a tempo of 110 quarter note or crotchet beats to the minute whilst the repeat is not played in the realisation but in performance can be added. The full score is presented with appended parts for the three instrumentalists with appropriate TAB scores and graphics to support the players. A different solo instrument can be substituted for the mandolin if opportunity arises. The music editor would value feedback on how the score is presented and would also appreciate suggestions on how the format could be improved. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance! Close

Sicilienne arr. classical guitar duo

The intention of the arrangement was to provide a guitar accompaniment to the melody of Faure’s Sicilienne Opus 78. Consequently in this arrangement Show More...

The intention of the arrangement was to provide a guitar accompaniment to the melody of Faure’s Sicilienne Opus 78. Consequently in this arrangement for two classical guitars the Guitar 1 part is much easier to play than the Guitar 2 part. The Guitar 2 part is challenging and some of the voicing may need to be edited – bars 27 & 29 and later repeated at bars 63 & 69 possibly being an example. This guitar duo arrangement has been made from an orchestral score so understandably something does have to be missed out. The TAB score is a simple conversion from the notation score to TAB. Quite clearly there are options as to where the notes are to be played so be prepared to edit this score. Fauré’s early years were spent in Pamiers (which, is in the Ariège, a department in the rural south western part of France) singing in his local church which no doubt meant that his ear became familiar with the old church modes. In his composing career the modal element became a very characteristic aspect of his compositional style especially evident in the Sicilienne. Composing while referencing the modes requires complete clarity in the musical texture and the musical lines in that texture. Modal music however often lends itself to contemporary contexts and arrangements. A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists with several different instrument combinations. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the score the most appropriate ranges of the instruments are explored and consequently there has been some simplifying of the texture in the guitar 2 part. The realisation plays at a tempo of 48 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. In this arrangement A minor is the chosen key although G minor is the natural and most appropriate key for the work. G minor is however a challenging key for the guitar player whilst the work is playable in A minor. The realization features a two different sounding guitars. Accompaniments are in place enabling the Guitar 1 part to practice in as part of a duo. These accompaniments play at 46, 48, 50 and 52 dotted quarter note (crotchet) beats to the minute and feature a 4 bar count in sounding on the wood blocks. Close

Cantabile arr. electric guitar + acoustic guitar

This is an excellent piece for an instrument player because it is challenging to play both from the pitch range the player has to manage and the oppor Show More...

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

Berceuse (Dolly Suite) arr. mandolin & two acoustic guitars

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 66 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. The modal element that features in much of Faure's music is also evident in this arrangement. Players may like to explore the octave options, the use of harmonics and the voicing of the final chord. Individual instrument parts are appended to the full score.An acoustic guitar duet accompaniment is available. Accompaniment 1 plays at 64 quarter note beats (crotchet) to the minute, Accompaniment 2 at 68 quarter note (crotchet) beats to the minute and Accompaniment 3 at 72 quarter note beats (crotchet) to the minute. Close

Berceuse (Dolly Suite) arr. three acoustic guitars

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 too abruptly. The realisation plays at 66 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. The modal element that features in much of Faure's music is also evident in this arrangement. Guitar players may like to explore the octave options, the use of harmonics and the voicing of the final chord. Individual guitar parts are also appended to the full score. An acoustic guitar duet accompaniment is available. Accompaniment 1 plays at 64 quarter note beats (crotchet) to the minute, Accompaniment 2 at 68 quarter note (crotchet) beats to the minute and Accompaniment 3 at 72 quarter note beats (crotchet) to the minute. Close

Serenade (Petite Suite) arr. three acoustic guitars (+ TAB)

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 well suited to being played on an instrument like the guitar with dropped d tuning on the sixth string. There is a strong melodic element in this miniature which explores quite a melodic range. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. Individual guitar parts with TAB are also appended to the full score. Close

Serenade (Petite Suite) arr. three acoustic guitars (No TAB)

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 well suited to being played on an instrument like the guitar with dropped d tuning on the sixth string. There is a strong melodic element in this miniature explores quite a melodic range. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. Individual instrument parts are also appended to the full score. Close

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

Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po 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 well suited to being played on an instrument like the guitar with dropped d tuning on the sixth string. There is a strong melodic element in this miniature explores quite a melodic range. A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. Individual instrument parts are also appended to the full score. Close

The Easy Winners arr. 2 mandolins, acoustic guitar and acoustic or electric bass

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for two mandolins, acousti Show More...

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

The Easy Winners arr. Two Acoustic Guitars

n this arrangement for two acoustic guitars in G the realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not pl Show More...

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

The Easy Winners arr. Three Acoustic Guitars & Acoustic or Electric Bass

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for three acoustic guitars Show More...

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

The Easy Winners arr. Three Acoustic Guitars

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for three acoustic guitars Show More...

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

Notturno arr. 3 acoustic guitars in A + TAB

The arrangement is scored for three acoustic guitars and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dating Show More...

The arrangement is scored for three acoustic guitars and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dating from 1881 the movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts whilst the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work has been incorporated into the arrangement whilst individual acoustic guitar parts are appended to the full score.The music editor acknowledges how useful TAB scores are when learning the guitar particularly in the early stages of playing the instrument. The challenge is that the same notes unlike most other instrument can be played in different position so that a TAB as presented here offers only one solution and possibly not the best solution in playing the piece. The editor is interested receiving feedback from guitar players with their thoughts and suggestions as to how these scores should be used. In this particularly piece TAB scores are shown with the individual appended guitar parts. Chord voicings have been simplified and made more appropriate in the second guitar part. Close

Notturno arr. 3 acoustic guitars in A

The arrangement is scored for three acoustic guitars and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Datin Show More...

The arrangement is scored for three acoustic guitars and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dating from 1881 the movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts whilst the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work has been incorporated into the arrangement whilst individual acoustic guitar parts are also appended to the full score. Close

Notturno arr. flute, acoustic guitar & cello

The arrangement for flute, acoustic guitar and violoncello uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dati Show More...

The arrangement for flute, acoustic guitar and violoncello uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dating from 1881 the movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts whilst the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work, which dates from 1881, has been incorporated into the arrangement. Individual instrument parts are appended to the full score. Close

Plaisir d’amour arr. mandolin & acoustic guitar

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

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

This is an arrangement for mandolin and acoustic guitars of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, Show More...

This is an arrangement for mandolin and acoustic guitars of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. The small ornamental notes, apart from the acciaccaturas (crushed notes), in the melody line of the arrangement are optional and do not sound in the realisation. Close

Jeanie with the light brown hair arr. two acoustic guitars

This is an arrangement for two acoustic guitars of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song w Show More...

This is an arrangement for two acoustic guitars of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. The small ornamental notes, apart from the acciaccaturas (crushed notes), in the melody line of the arrangement are optional and do not sound in the realisation. Close

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

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

This is an arrangement for a duo comprising flute and acoustic guitar of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. The small ornamental notes, apart from the acciaccaturas (crushed notes), in the melody line of the arrangement are optional and do not sound in the realisation. Close

The Teddy Bears’ Picnic arr. two acoustic guitars

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

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

Dedicatoria arr. two acoustic guitars + TAB

A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for two guitars with TAB, the tempo of the realisation is Show More...

A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for two guitars with TAB, 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. As the piece is quite short only the full score copy is available as a download. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period or nationalist period in music history. Close

Dedicatoria arr. two acoustic guitars

A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for two guitars, the tempo of the realisation is 62 quarte Show More...

A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for two guitars, 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. As the piece is quite short only the full score copy is available as a download. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period or nationalist period in music history. Close

Spring Song arr. two acoustic guitars

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. Close

Spring Song arr. mandolin & guitar

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used 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. The mandolin part is notated in both staff notation and TAB. Close

Tango in D arr. mandolin, acoustic guitar & cello

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. This version has the arrangement notated in conventional staff notation with appended parts for the three instruments. Close

Tango in D arr. three acoustic guitars

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. This version has the arrangement notated in conventional staff notation with appended parts for the three instruments. Close

Waltz in A minor arr. two acoustic guitars

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 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 octave section that features in the melody of the piano score has not be transferred to the instrument writing in the arrangements. In Bar 21 the triplet option sounds in the realisation whilst the trill in the penultimate bar begins on the lower note and in the realisation 7 notes are sounded. The original piano work does have some additional ornaments which the performer may wish to consider adding after studying the solo piano score. The repeats are also played in the realisation whilst there is both stave score is notation with TAB and supporting guitar chords diagrams. Close

Twinkle, Twinkle Little Star arr. two guitars

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

A very familiar melody used to introduce some of the elements of classical music performance in melody and accompaniment playing. This beginner arrangement has both chord diagrams and TAB whilst the letter names of the notes also appear in the noteheads of the melody. This resource is intended to be used in group teaching situations. Close

Escovado arr. mandolin & 2 acoustic guitars

A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. The formal pattern used by the Show More...

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

Escovado arr. mandolin & 2 acoustic guitars + TAB

A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. The formal pattern used by the Show More...

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

Minuet in F K.2 arr. 2 acoustic guitars

Mozart's Minuet in F in an arrangement for two acoustic guitars in the original key of F. Both guitar parts have notated and TAB scores and Mozart's Show More...

Mozart's Minuet in F in an arrangement for two acoustic guitars in the original key of F. Both guitar parts have notated and TAB scores and Mozart's work is a simple structured binary form movement. The minuet is a dance of French origin in 3/4 time and in an expanded form became important in the Classical era by often being incorporated into many symphonies. The K numbers associated with Mozart scores refers to the Köchel or catalogue numbers that describe the chronologically order of his compositions. This catalogue was created some fifty years after the composers death and K2 understandably is his second published work composed when he was 6. Close

Minuet in F K.2 arr. mandolin & acoustic guitar

This is an arrangement of Mozart's Minuet in F for mandolin and acoustic guitar in the original key of F. Both parts have notated and TAB scores. Moza Show More...

This is an arrangement of Mozart's Minuet in F for mandolin and acoustic guitar in the original key of F. Both parts have notated and TAB scores. Mozart's piano piece is a simply structured binary form movement. The minuet is a dance of French origin in 3/4 time and in an expanded form became important in the Classical era by often being incorporated into many symphonies. The K numbers associated with Mozart scores refers to the Köchel or catalogue numbers that describe the chronologically order of his compositions. This catalogue was created some fifty years after the composers death and K2 understandably is his second published work composed when he was 6. Close

Brejeiro arr. mandolin, acoustic guitar & double bass

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

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments and in the context of this piece particular ones with plucked strings in an ensemble. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Some of the chord voicings in the guitar parts have been changed and there are some octave transpositions in the melody where the range of the solo instrument proves limiting. On the second beat of Bar 52 mandolin, for example, players may also choose to play the second E an octave higher on the 12th fret. It is quite probable that if you listen to this piece played by Brazilian musicians that the bandolim and cavaquinho will feature. The bandolim is the name for the mandolin in Brazil - the instrument arrived in Brazil from Portugal. The cavaquinho is a small string instrument of the European guitar family with four wire or gut strings similar to the ukulele although tuned differently. There is also a TAB version of this work available on the website with appended instrument parts. Close

Brejeiro arr. mandolin, acoustic guitar & double bass + TAB

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

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments and in the context of this piece particular ones with plucked strings in an ensemble. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischievous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Some of the chord voicings in the guitar parts have been changed and there are some octave transpositions in the melody where the range of the solo instrument proves limiting. The mandolin and acoustic guitar parts have TAB support which makes the score a little cluttered and as a consequence individual instrument parts are appended to the full score. On the second beat of Bar 52 mandolin players may also choose to play the second E an octave higher on the 12th fret. It is quite probable that if you listen to this piece played by Brazilian musicians that the bandolim and cavaquinho will feature. The bandolim is the name for the mandolin in Brazil - the instrument arrived in Brazil from Portugal. The cavaquinho is a small string instrument of the European guitar family with four wire or gut strings similar to the ukulele although tuned differently. Close

Brejeiro arr. mandolin & acoustic guitar

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

Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments and in the context of this piece particular ones with plucked strings in an ensemble. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischievous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Some of the chord voicings in the guitar parts have been changed and there are some octave transpositions in the melody where the range of the solo instrument proves limiting. On the second beat of Bar 52 mandolin players may choose to play the second E an octave lower on the open string. It is quite probable that if you listen to this piece played by Brazilian musicians that the bandolim and cavaquinho will feature. The bandolim is the name for the mandolin in Brazil - the instrument arrived in Brazil from Portugal. The cavaquinho is a small string instrument of the European guitar family with four wire or gut strings similar to the ukulele although tuned differently. Close

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

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

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

Tico-Tico arr. mandolin + TAB, acoustic guitar & double bass

In this arrangement of Tico-Tico for mandolin + TAB, acoustic guitar and string bass the sounding key is A minor/major and the realization plays back Show More...

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

Rondo Alla turca arr. 2 guitars & bass

This is shortened version of Mozart's Alla turca in an arrangement for two guitars and bass. In the realisation the melody and bass are played by el Show More...

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

Rondo Alla turca arr. 2 acoustic guitars

This is shortened version of Mozart's Alla turca in an arrangement for two acoustic guitars. It should be an easy piece to learn in that it one of the Show More...

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

Rondo Alla turca arr. 2 acoustic guitars + TAB

This is shortened version of Mozart's Alla turca in an arrangement for two acoustic guitars with TAB. It should be an easy piece to learn in that it Show More...

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

Mvt. 1 Divertimento No.3 arr. 3 acoustic guitars

In this arrangement for three acoustic guitar parts the sounding key is E. A tempo of 132 quarter note (crotchet) beats to the minute is recommende Show More...

In this arrangement for three acoustic guitar parts the sounding key is E. A tempo of 132 quarter note (crotchet) beats to the minute is recommended. Individuals instruments parts are appended to the full score. This movement demonstrates the essential elements of Mozart's compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive to style. The Divertimenti (and the related Viennese Sonatinas) are relatively easy works well worth exploring. Close

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

A graceful movement from one of Haydn's early keyboard sonatas (Hob. XVI/I) with a melody that very much captures the spirit of the classical age. The Show More...

A graceful movement from one of Haydn's early keyboard sonatas (Hob. XVI/I) with a melody that very much captures the spirit of the classical age. The melody needs to be played in a flowing and even manner and played at a tempo in which the music is does not seem to be rushed. The appeal of the music is very much in its simplicity and it is very suited to being performed by just a melody instrument accompanied by an acoustic guitar. A tempo of 42 quarter notes (crotchet) beats to the minute is suggested. In the realisation a consistent approach to the interpretation of the ornaments is the intention but there are other solutions and additions that can be made. Performers of this work often vary and add additional ornaments in the the repeat sections and consequently no two performances of the movement are interpretated in the same way. The ornaments in this version are written out in an ossia staff but can always be omitted in the early stages of learning the piece. Close

Celibrated Minuet arr. mandolin & acoustic guitar

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

This intermediate version features the only first minuet of Boccherini's Minuet and Trio from his String Quintet Opus 11 No.5. In this two part arrangement for mandolin and acoustic guitar the musical texture has been simplified into melody and accompaniment. The ornaments have been written out in full to assist players although I would suggest that they are perhaps omitted in the early stages of learning the piece. This movement requires a very consistent approach which will be a challenge to players inexperienced in performing music from this era. A tempo of 100 quarter note (crotchet) beats to the minute is recommended. Close

Rondo from Sonatina in G arr. two acoustic guitars

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

This is a very attractive piece which has in the recent past been used as the basis for a pop tune. This is an arrangement of the first section of the piece for two acoustic guitars - one guitar plays the melody whilst the other strums the chord on the main beats of the bar. The melody line is written in staff notation and TAB whilst there are chord diagrams/symbols in place to assist the second player. 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 beginner players although originally composed for the piano. A rondo is a piece with a recurring theme although only the A or first section is featured in this beginner arrangement. Close

Romanze arr. two acoustic guitars

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 one guitar plays the melody 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 one guitar plays the melody whilst the other accompanies playing chords on the (two) main beats of the bar. There is TAB support for the guitarist playing the melody and chord diagrams are in place to show the chord positions for the second guitar player. A tempo of 66 dotted quarter beats to the minute is recommended Close

Vivace arr. mandolin & acoustic guitar + TAB

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishin 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 manufacture of pianos. This arrangement of a movement from one of the Opus 36 piano sonatinas is for mandolin and acoustic guitar with TAB. This particular piece has been selected to encourage fast playing and the realisation has a tempo of 72 dotted quarter note (crotchet) beats to the minute. Vivace is Italian for lively. Close

Serenade arr. classical guitar duo + tab

This is a “cut down” / shortened arrangement for #classicalguitar duo with TAB of this familiar piece by Hoffstetter from the string quartet reper Show More...

This is a “cut down” / shortened arrangement for #classicalguitar duo with TAB of this familiar piece by Hoffstetter from the string quartet repertoire. In this beginner / improver level arrangement the sounding key is C whilst the PlentyMusic #sheetmusic realisation & video score play back at 94 quarter note (crotchet) beats to the minute. A complete version is also available to download from the website. 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 performance, the articulation of the notes needs to be consistent - the melody is to be played legato (Andante Cantabile) and the plucked guitar accompaniment provides an appropriate sound. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested whilst the score is marked Andante cantabile. This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. There is also a strong repetitive element that requires the music to played with both simplicity and consistency. 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

Serenade arr. classical guitar duo

Serenade by R. Hoffstetter is a movement from a familiar classical string quartet. In this improver / intermediate level arrangement for classical gu Show More...

Serenade by R. Hoffstetter is a movement from a familiar classical string quartet. In this improver / intermediate level arrangement for classical guitar duo the sounding key is C whilst the PlentyMusic sheet music realisation plays back at 94 quarter note (crotchet) beats to the minute. mp3 guitar accompaniments are also available to download. This is an arrangement for classical guitar duo of this appealing movement 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 melody does sound easy to play although there are challenges in playing music of this era well and musically. In performance, the articulation of the notes needs to be consistent - the melody is to be played legato and the plucked guitar accompaniment provides an agreeable and appropriate sound. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested whilst the score is marked Andante cantabile. A flute part is appended to the full score which is available as a pdf download from the website. The repeats do not play in the realisation. mp3 classical guitar accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. Similarly the repeats are not played in these recordings. The guitar part is based on the chord sequence used by Hoffstetter and requires a finger style approach. An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic 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. Actually most of the crushed notes do not sound in the realisation due to the limitations of the samples used. This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. There is also a strong repetitive element that requires the music to played with both simplicity and consistency. 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. 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. The score was updated in 2023. Close

Any Rags? arr. mandolin, guitar & bass guitar

An arrangement for mandolin, acoustic guitar and electric bass with TAB of this song chorus that demonstrates many of the essential elements of an eme Show More...

An arrangement for mandolin, acoustic guitar and electric bass with TAB 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. In this version, the guitar player is required to play selected notes of the chord and these are notated in conventional staff notation. Close

Any Rags? arr. mandolin, guitar & double bass

An arrangement for mandolin, acoustic guitar and double bass of this song chorus that demonstrates many of the essential elements of an emerging popul Show More...

An arrangement for mandolin, acoustic guitar and double bass 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. There are chord symbols/diagrams to assist the guitar player whilst the slash chord symbol is used to indicate the rhythm of the strumming pattern in conventional staff notation. Close

Any Rags? arr. mandolin, guitar & string bass

An arrangement for mandolin, acoustic guitar and double bass of this song chorus that demonstrates many of the essential elements of an emerging popul Show More...

An arrangement for mandolin, acoustic guitar and double bass 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. In this version, the guitar player is required to play selected notes of the chord and these are notated in conventional staff notation. Close

Any Rags? arr. two guitars & bass

An arrangement for two guitars and electric bass of this song chorus that demonstrates many of the essential elements of an emerging popular music sty Show More...

An arrangement for two guitars and electric bass 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. In the realisation the melody is played by a muted electric guitar the chords are played by an acoustic guitar and the bass by a fretted bass guitar. There are chord symbols/diagrams to assist the acoustic guitar player whilst the slash chord symbol is used to indicate the rhythm of the strumming pattern in conventional staff notation. Close

Any Rags? arr. banjo, guitars & bass

An arrangement for banjo, acoustic guitar and electric bass with TAB of this song chorus that demonstrates many of the essential elements of an emergi Show More...

An arrangement for banjo, acoustic guitar and electric bass with TAB 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. In this version, the guitar player is required to play selected notes of the chord and these are notated both in conventional staff notation and TAB. Close

Any Rags? arr. two guitars & bass

An arrangement for two guitars and electric bass, all with TAB, of this song chorus that demonstrates many of the essential elements of an emerging p Show More...

An arrangement for two guitars and electric bass, all with TAB, 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. In the realisation the melody is played by a muted electric guitar, whilst selected notes of the chord are sounded by an acoustic guitar and the bass by a fretted bass guitar. Close

Any Rags? arr. two guitars & bass

An arrangement for two guitars and electric bass of this song chorus that demonstrates many of the essential elements of an emerging popular music st Show More...

An arrangement for two guitars and electric bass 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. In the realisation the melody is played by a muted electric guitar, whilst selected notes of the chord are sounded by an acoustic guitar and the bass by a fretted bass guitar. There is no TAB support in this version. Close

The Good Time’s Rag arr. two guitars & bass guitar

An arrangement for two guitars & bass guitar of this piece intended to introduce players to the musical elements that feature in ragtime. The guitar p Show More...

An arrangement for two guitars & bass guitar of this piece intended to introduce players to the musical elements that feature in ragtime. The guitar playing the melody has TAB supporting the notation whilst the guitar playing chords has symbols/chord diagrams to assist the player. The bass guitar part is also has TAB supporting conventional staff notation. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended and it is suggested that the piece is is played through twice as it is in the realisation. Close

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

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

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

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

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

An arrangement for banjo, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in the ragtime style. A tempo of 110 quarter notes (crotchet) beats to the minute is suggested. The banjo notation is supported by TAB and the acoustic guitar notation has chord symbols to assist the player. Close

Wilson’s Rag arr. mandolin & acoustic guitar (+TAB)

An arrangement of this ragtime waltz for mandolin and acoustic guitar with both instruments notated in staff notation and TAB. The mandolin plays the Show More...

An arrangement of this ragtime waltz for mandolin and acoustic guitar with both instruments notated in staff notation and TAB. The mandolin plays the melody whilst the guitar plays voiced chords and a bass line. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. Close

Wilson’s Rag arr. two guitars with TAB

An arrangement of this ragtime waltz for two guitars with Tab. In the realisation one electric guitar is featured and one acoustic. The second guitar Show More...

An arrangement of this ragtime waltz for two guitars with Tab. In the realisation one electric guitar is featured and one acoustic. The second guitar plays voiced chords and a bass line. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. Close

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

An arrangement of this ragtime waltz for ukelele with TAB, acoustic guitar and double bass or bass guitar with TAB. The acoustic guitar chords are not Show More...

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

Wilson’s Rag arr. mandolin, acoustic guitar & bass guitar +TAB

An arrangement of this ragtime waltz for mandolin, acoustic guitar and bass guitar with TAB for the mandolin and bass guitar. The acoustic guitar cho Show More...

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

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

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

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

Wilson’s Rag arr. banjo, acoustic guitar & bass guitar +TAB

In this arrangement of the ragtime waltz for banjo, acoustic guitar and bass guitar each of the instruments has conventional notation with TAB. The ba Show More...

In this arrangement of the ragtime waltz for banjo, acoustic guitar and bass guitar each of the instruments has conventional notation with TAB. The banjo is tuned G, D, G, B, D which is known as open tuning and is the most generally used 5-string banjo tuning. The acoustic guitar chords are notated with both chord symbols/diagrams and the notes to be sounded in staff notation. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is the one used in the realisation. Close

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

In this arrangement of the ragtime waltz for banjo, acoustic guitar and double bass, the banjo is tuned G, D, G, B, D which is known as open tuning Show More...

In this arrangement of the ragtime waltz for banjo, acoustic guitar and double bass, the banjo is tuned G, D, G, B, D which is known as open tuning and is the most generally used 5-string banjo tuning. The acoustic guitar chords are notated with both chord symbols/diagrams and the notes to be sounded in staff notation. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is the one used in the realisation. Close

The Entertainer arr. mandolin & acoustic guitar

In this duo arrangement for mandolin and acoustic guitar, without TAB, a tempo of around 72 quarter note (crotchet) beats to the minute is recommended Show More...

In this duo arrangement for mandolin and acoustic guitar, without TAB, a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin's The Entertainer which he described as A Rag Time Two Step was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close

The Entertainer arr. mandolin & acoustic guitar

This duo arrangement for mandolin with TAB and acoustic guitar also with TAB has a suggested tempo of around 72 quarter note (crotchet) beats to the Show More...

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

The Entertainer arr. mandolin, acoustic guitar & double bass

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

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

The Entertainer arr. mandolin, acoustic guitar & bass

In this trio arrangement for mandolin with TAB, acoustic guitar with TAB and string/upright/double bass a tempo of around 72 quarter note (crotchet) b Show More...

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

The Entertainer arr. two acoustic guitars

In this arrangement one guitarist plays the melody and the other plays the chords. Each player is helped by graphics in the form of guitar TAB and cho Show More...

In this arrangement one guitarist plays the melody and the other plays the chords. Each player is helped by graphics in the form of guitar TAB and chord diagrams. Chords are played on the main beats of the bar whilst the melody is syncopated. This is a cut down version omitting the final two sections which make up the trio. Described as 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. electric guitar & bass

This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". The instruments specified are electric guitar Show More...

This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". The instruments specified are electric guitar & bass guitar but these could be substituted by acoustic instruments. The slur markings appear in the conventionally notated music score but not the TAB version. Players once they are familiar with the music can introduced and apply some guitar techniques characteristic of the instrument - "pull offs" and "hammer ons" - to the melody line. However, it may also be necessary to change some of the TAB positions and strings currently specified to ensure consistency in the playing approach. This is probably quite a challenge for an improver level guitarist but the TAB support should help and the triplet figuration has been omitted. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. 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

El Choclo arr. 2 guitars & double bass

This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". This version for two guitars with double bas Show More...

This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". This version for two guitars with double bass version has a playback tempo of 60 quarter note (crotchet) notes to the minute. Guitarists have the option of changing the chord positions on the fretboard to alter the chord voicing and improve the ensemble. The double bass is to be played pizzicato throughout the arrangement and can be substituted by bass guitar or an acoustic bass guitar. 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. acoustic guitar duo in D with TAB

This improver level two part arrangement is for two acoustic guitars with TAB in the key of D. A tempo of of around 60 quarter note (crotchet) beats t Show More...

This improver level two part arrangement is for two acoustic guitars with TAB in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

La Paloma arr. mandolin & acoustic guitar

This simple two part arrangement is for mandolin and acoustic guitar in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the min Show More...

This simple two part arrangement is for mandolin and acoustic guitar in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

La Paloma arr. acoustic guitar duo in C with TAB

This improver level two part arrangement is for two acoustic guitars with TAB in the key of C. A tempo of of around 60 quarter note (crotchet) beats Show More...

This improver level two part arrangement is for two acoustic guitars with TAB 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 accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

La Paloma arr. acoustic guitar duo

This improver level two part arrangement is for two acoustic guitars accompanied in the key of C. A tempo of of around 60 quarter note (crotchet) beat Show More...

This improver level two part arrangement is for two acoustic guitars accompanied 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 accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

Soirée Polka arr. banjo, acoustic guitar & double bass

This arrangement is for banjo, acoustic guitar and acoustic or string bass in staff notation. The polka is a lively characterful dance that originated Show More...

This arrangement is for banjo, acoustic guitar and acoustic or string bass in staff notation. The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Homehas been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close

Soirée Polka arr. two acoustic guitars

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 rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close

La Paloma arr. two ukulele & acoustic guitar

This arrangement is for two ukulele and acoustic guitar with dropped D tuning. Each of the parts has both staff and TAB notation and individual parts Show More...

This arrangement is for two ukulele and acoustic guitar with dropped D tuning. Each of the parts has both staff and TAB notation and individual parts are appended to the full music score. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment cello figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

Los Tres Golpes arr. mandolin, acoustic guitar & bass

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. Whilst string bass and acoustic guitar are specified in the score there is room for flexibility in the approach and electric instruments may be substituted. 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

Los Tres Golpes arr. 2 guitars and bass guitar

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) 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

Over the Waves arr. mandolin & acoustic guitar

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

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

Over the Waves arr. two guitars with TAB

A familiar waltz melody that lends itself to being played by a wide variety of instruments. This arrangement for two guitars has TAB support and with Show More...

A familiar waltz melody that lends itself to being played by a wide variety of instruments. This arrangement for two guitars has TAB support and with the realisation being played at 60 dotted half note (minim) beats to the minute by two acoustic guitars. Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces interpreted by many stylistically different types of performing groups. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Guitar accompaniments are available at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close

Over the Waves arr. two acoustic guitars

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

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

Over the Waves arr mandolin & acoustic guitar with TAB

Both mandolin and guitar parts have TAB. Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba i Show More...

Both mandolin and guitar parts have TAB. 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 has even featured in the MGM film "The Great Caruso." The TAB scores do seem a bit cluttered in their detail but once the music has been learnt players can refer to the notation copies. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Guitar accompaniments are available at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close

Gymnopedie No.1 arr. for two acoustic guitars & string bass

This arrangement for two guitars and string bass has chord diagrams to assist the accompanying guitarist. The realisation features an electric guitar. Show More...

This arrangement for two guitars and string bass has chord diagrams to assist the accompanying guitarist. The realisation features an electric guitar. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. His Gymnopedie No. 1 is an attractive melodic piece which was composed and published in 1888. Satie's writings and works influenced many of the avant-garde movements established in Paris in the early 20th century. Close

Gymnopedie No.1 arr. 2 acoustic guitars

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

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

Twinkle, Twinkle Little Star arr. electric & bass guitar

A familiar melody used to introduce some of the stylistic elements of playing classical music in a two part context. This arrangement for electric gu Show More...

A familiar melody used to introduce some of the stylistic elements of playing classical music in a two part context. This arrangement for electric guitar and bass guitar has TAB Close

Twinkle Variations arr. 2 acoustic guitars + TAB

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate l 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 can be played by either nylon strung or steel strung acoustic guitars. The realisation actually features steel stringed instruments and this score also has TAB. Close

Twinkle,Twinkle Little Star Variations arr. 2 acoustic guitars

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate l 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 can be played by either nylon strung or steel strung acoustic guitars. The realisation actually features steel stringed instruments. Close

Prelude in D minor BWV 999 arr. two acoustic guitars

In this arrangement for two guitars with TAB charts to support the conventionally notated score the chordal element of this piece is well suited to th Show More...

In this arrangement for two guitars with TAB charts to support the conventionally notated score the chordal element of this piece is well suited to this instrument combination. 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 and choosing a correct tempo is quite a performance challenge. IT is very easy to start playing this piece either too quickly or two slowly. Close

Minuet in A minor BWV App.115 arr. electric & bass guitar

An arrangement for electric and bass guitar of this minuet from the Anna Magdalena Notebook transcribed to the key of A minor and like most dance musi Show More...

An arrangement for electric and bass guitar of this minuet from the Anna Magdalena Notebook transcribed to the key of A minor and like most dance music from this era in AB or binary form. The movement has a haunting quality and like so much of the music from the collection it is a great study piece for students and can be played by a combination of different instruments. Keep the eighth notes (quavers) as even as possible and a tempo of around 116 quarter note (crotchet) beats to the minute is suggested. Close

Prelude in D minor BWV 926 arr. mandolin & acoustic guitar

An arrangement for mandolin and acoustic guitar of this dignified movement with an outline chord shape that needs to be clearly articulated. It is su Show More...

An arrangement for mandolin and acoustic guitar of this dignified movement with an outline chord shape that needs to be clearly articulated. It is supported by a contrasting and well defined bass line that has a toccata / cadenza like section near the end. The parts are presented in both staff and tab format and players can refer to the piano copy to see and hear how the ornaments should be played. The conventionally notated score should be understood as being the reference score.The TAB charts whilst useful are not perfect in that if two notes are sounding on the same string they will need some re-interpretation and clarification. The conventionally notated score should be understood as being the reference score. Close

Prelude in D minor BWV 926 arr. two acoustic guitars

An arrangement for two acoustic guitars of this dignified movement with an outline chord shape that needs to be clearly articulated. It is supported Show More...

An arrangement for two acoustic guitars of this dignified movement with an outline chord shape that needs to be clearly articulated. It is supported by a contrasting and well defined bass line that has a toccata / cadenza like section near the end. The parts are presented in conventional staff notation and as TAB charts and players can refer to the piano copy to see and hear how the ornaments should be played. The TAB charts whilst useful are not perfect in that if two notes are sounding on the same string they will need some re-interpretation and clarification. The conventionally notated score should be understood as being the reference score. Close

Jesu Joy in 8 arr. electric guitar & bass guitar

This is a simplified and shortened version of one of J.S.Bach’s famous pieces based on a chorale (hymn) melody arranged for electric guitar and bass Show More...

This is a simplified and shortened version of one of J.S.Bach’s famous pieces based on a chorale (hymn) melody arranged for electric guitar and bass guitar with both notated and tab parts. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This essentially two part version has been notated in 8/8 time. The grouping of the 8/8 time signature is 3+3+2 which is a rhythmic template used in much popular music of the 1950’s and 1960’s. Electric guitar & bass guitar accompaniments are also in place sounding at 102, 106, 110, and 114 quarter note (or crotchet) beats to the minute.The arrangement provides very good opportunities to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. This score was upgraded in early 2026 with accompaniments added and instrument parts appended to the full score. Close

Jesu, Joy arr. mandolin & acoustic guitar

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for mandolin and acoustic guit Show More...

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for mandolin and acoustic guitar with parts notated conventionally and in TAB charts. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and provides very good opportunities to develop both secure technique and musical fluency. Close

Jesu, Joy arr. 2 acoustic guitars

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for two acoustic guitars with Show More...

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

Sleeper’s Wake arr. guitar & bass guitar

An arrangement for acoustic or electric guitar and electric bass with tab. This is music based on a chorale (hymn) tune that would have been familiar Show More...

An arrangement for acoustic or electric guitar and electric bass with tab. This is music based on a chorale (hymn) tune that would have been familiar to Bach's congregations. This is a shortened two part 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 being arranged by a number of contemporary performing groups in a variety of styles. Close

Minuet in B minor BWV 1067 arr. two acoustic guitars

An arrangement for two acoustic guitars of this familiar movement. One guitar plays the melody whilst the other accompanies with strummed chords. Both Show More...

An arrangement for two acoustic guitars of this familiar movement. One guitar plays the melody whilst the other accompanies with strummed chords. Both parts are supported with either TAB or chord shape graphics. The binary AB form minuet is from the Orchestral Suite in B minor BWV 1067. In the Minuet in B minor (Two Part) version players can see the ornaments written out to clarify how they should be played and this Two Part score is supported by an mp3 realisation. Close

Invention 8 arr. electric guitar & bass guitar

J.S.Bach’s Invention 8 BWV 779 arranged for electric & bass guitar. 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 for electric & bass guitar. One of the most popular of the two part inventions with scale runs and chord shapes to master. A sheet music score with both staff notation and TAB is available from the website. Accompaniments are also in place. This is an updated version of an earlier music score. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for guitarists to play to improve technique. There are some octave transpositions in the parts to keep to the range of the instruments. The guitar is an instrument where the same note can be played in different positions on the fretboard and whilst the TAB scores available maybe helpful in locating notes they do not provide the only solution. Acoustic instruments can be substituted for the electric. The realisation plays back at a reasonable 84 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Guitar 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. Remember that music cannot be played quickly until it can be played slowly. The electric guitar and bass guitar are both transposing instruments and sound an octave lower than written enabling the space between the contrapuntal lines to be retained. There are some octave transpositions in the parts to keep to each instrument’s range. Scores are available in both staff notation and TAB. The TAB scores are limited in that they are literal translations of the notated score and guitar players may well wish to review some of the note positions suggested in these scores. Ornaments are not generally featured in this movement whilst the realisation plays back at 84 quarter note or crotchet beats to the minute. Accompaniments are in place allowing guitar and bass players to participate in ensemble activities as part of their practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 80, 84, 88, 92, 96, and for the very brave 100 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 two bar count in /click track for each of the accompaniment tracks. 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 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. Close

Bourrée in Em arr. electric guitar & bass guitar

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on Show More...

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. Arranged for electric guitar and electric bass with conventional notation and tab scores in place this particular this example shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The musical lines are of equal performance and technical difficulty and make it an ideal ensemble piece a guitar duo. Ornaments are in place and sound on the playback score. How they are to be played is shown on ossia staves in the music score. Accompaniments are in place sounding at 58, 60 and 62 half note or minim beats to the minute featuring both the electric guitar and bass guitar parts. Repeats are not played. Players have the choice of reading the music from the full score or the appended parts. The music originates from Bach’s Lute Suite BWV 996. An additional challenge is to play the movement in a swing style. Close

Bourrée in Em arr. acoustic guitar duet

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on Show More...

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. Arranged for an acoustic guitar duet with conventional notation and tab scores in place this particular this example shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. Ornaments are in place and sound on the playback score. How they are to be played is shown on ossia staves in the music score. Players have the choice of reading the music from the full score or the appended parts. Accompaniments are in place sounding at 58, 60 and 62 half note or minim beats to the minute featuring both acoustic guitar 1 and guitar 2 parts. Repeats are not played. Close

Invention 8 arr. classical guitar duo

J.S.Bach’s Invention 8 BWV 779 arranged for classical guitar duo in the original key of F. One of the most popular of the two part inventions with s Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for classical guitar duo in the original key of F. One of the most popular of the two part inventions with scale runs and chord shapes to master. A sheet music score with both staff notation and TAB is available from the website. Accompaniments are also in place. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for guitarists to play to improve technique. There are some octave transpositions in the parts to keep to the range of the instruments. The guitar is an instrument where the same note can be played in different positions on the fretboard and whilst the TAB scores available maybe helpful in locating notes they do not provide the only option. The realisation plays back at 96 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Guitar 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. Remember that music cannot be played quickly until it can be played slowly. The classical guitar is a transposing instrument and sounds an octave lower than written. The contrapuntal lines are an octave closer together than in the piano version. Ornaments are not generally featured in this movement whilst the realisation plays back at 84 quarter note or crotchet beats to the minute. Accompaniments are in place allowing guitar players to participate in ensemble activities as part of their practice routines. Classical Guitar 1 sounds on one side of the stereo channel and Classical Guitar 2 on the other. The accompaniment tracks play back at 76, 80, 84, 88, 92, 96, and for the brave 100 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. 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 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. Close

Invention 4 arr. electric guitar & bass + TAB

J.S.Bach’s Invention 4 BWV 775 arr. electric guitar & bass guitar Both notated & TAB scores are available. In the key of D minor this is an appeal Show More...

J.S.Bach’s Invention 4 BWV 775 arr. electric guitar & bass guitar Both notated & TAB scores are available. In the key of D minor this is an appealing work featuring an opening motif or melodic shape that combines a scale shape with the interval of a falling diminished seventh. The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written F natural but many alternate a F# with the E. The ornaments can always be omitted particularly in the early stages of learning the movement. If In the video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. As the electric The TAB score Accompaniments are in place allowing electric guitar & bass players to participate in an ensemble activity as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual clarinet parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the 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. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique. This is a revision and update of a previous score posted on the website. The music score was revised in 2023. B. Close

Invention 4 arr. classical guitar duo + TAB

J.S.Bach’s Invention 4 BWV 775 arr. classical guitar duo with both notated & TAB scores available as pdf downloads from the PlentyMusic website. In Show More...

J.S.Bach’s Invention 4 BWV 775 arr. classical guitar duo with both notated & TAB scores available as pdf downloads from the PlentyMusic website. In the key of D minor this is an appealing work featuring an opening motif or melodic shape that combines a scale shape with the interval of a falling diminished seventh. The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written F natural but many alternate a F# with the E. The ornaments can always be omitted particularly in the early stages of learning the movement. Many guitarists edit the music score in how they play the ornaments finding it difficult to sustain the hammer technique for so long. Find a solution but do ensure that both parts and instruments are imitating each other. The voicing in this arrangement with the guitar 1 sounding an octave lower than written means that the contrapuntal lines are an octave closer together than in the original piano version. In the video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Accompaniments are in place allowing classical guitar duo players to participate in an ensemble activity as part of practice routines. Classical Guitar 1 sounds on one side of the stereo channel and Classical Guitar 2 on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual guitar parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closely related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique. This is a revision and update of a previous score posted on the website. Close

Invention No.14 in Bb arr. acoustic guitar & bass guitar

Arranged for acoustic/electric guitar and electric bass with tab the playing needs to be even and balanced. This, like much of Bach's music, is a very Show More...

Arranged for acoustic/electric guitar and electric bass with tab the playing needs to be even and balanced. This, like much of Bach's music, is a very adaptable movement suited to being played by several different combinations of instruments. A tempo of around 54 quarter note (crotchet) beats to the bar is suggested. Close

Invention 13 arr. electric guitar & bass guitar + TAB

J.S.Bach’s Invention 13 in the key of A minor is a movement with some quite delightful shapes to play particularly chord shapes including minor, maj Show More...

J.S.Bach’s Invention 13 in the key of A minor is a movement with some quite delightful shapes to play particularly chord shapes including minor, major, dominant 7th & diminished 7th also in their different positions (root, first & second inversion…) This is an excellent ensemble piece encouraging players to listen to each other. Acoustic instruments can be substituted for the electric ones. The electric guitar and bass guitar are both transposing instruments and sound an octave lower than written enabling the space between the contrapuntal lines to be retained. There are some octave transpositions in the bass guitar part to keep to the instrument’s range. Scores are available in both staff notation and TAB. The guitar is an instrument where the same note can be played in different positions and on different strings. The TAB scores are a literal translations of the notated score and guitar players may well wish to review some of the note positions suggested in these scores. Ornaments are not featured in this movement whilst the realisation plays back at 72 quarter note or crotchet beats to the minute. Accompaniments are in place allowing guitar and bass players to participate in ensemble activities as part of their practice routines. The guitar sounds on one side of the stereo channel and the bass on the other. The accompaniment tracks play back at 58, 60, 62, 64, 66, 68, 70 and 72 quarter note (crotchet) beats per minute. This reflects the fact that the 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 two bar count in /click track for each of the accompaniment tracks. As in all the inventions it is a requirement to play accurate note values. Ends of phrases are deserving of particular attention. Legato playing is suggested in the first instance although players can offer their own playing and performance approaches which in many ways is the invitation offered in this and many other Bach music collections. There is no perfectly correct way to play this music and there is the added challenge of being able to re-visit and play the music again. 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 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 processes are evident in Bach’s Two Part Inventions as in most 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. As concentrated and concise movements the 15 Inventions played in an ensemble context present excellent challenges and there is simply not much other music that can better prepare players for this type of music activity. An invention suited to being played by a wide range of instruments possibly with a combination of instruments belonging to different instrument families – a mix and match approach is invited. The 2023 music score is a revision of the 2013 PlentyMusic score. Close

Invention No.13 BWV 784 arr. 2 acoustic guitars + TAB

An ideal ensemble piece for two acoustic guitars. The Two Part Inventions are excellent training pieces but do require a secure technique if performan Show More...

An ideal ensemble piece for two acoustic guitars. The Two Part Inventions are excellent training pieces but do require a secure technique if performances are to be musically convincing. Whilst the realisations have a tempo of 72 quarter note (crotchet) beats to the minute the movement can be performed at tempi both faster and slower than this. The scores are notated both conventionally and with TAB. Close

Polonaise in G minor arr. two acoustic guitars

An arrangement for two acoustic guitars with both notated and TAB scores of this characterful and rhythmic piece in binary (AB) form in the key of G m Show More...

An arrangement for two acoustic guitars with both notated and TAB scores of this characterful and rhythmic piece in binary (AB) form in the key of G minor. An arrangement for two acoustic guitars with both notated and TAB scores of this characterful and rhythmic piece in binary (AB) form in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. There are no ornaments in place in this arrangement. The composer of this movement has not been identified in a music score which is found in the music collection Notebook for Anna Magdalena Bach. Close

Minuet in A minor BWV App116 arr for electric & bass guitar

Arranged for electric guitar and electric bass players may well want to add drums to make the arrangement more complete. The music has been transcribe Show More...

Arranged for electric guitar and electric bass players may well want to add drums to make the arrangement more complete. The music has been transcribed into the key of A minor. Close

Minuet in A minor BWV App.115 arr. two guitars

Arranged for two acoustic guitars both parts are conventionally notated and have TAB charts. The haunting quality of the movement is well suited to t Show More...

Arranged for two acoustic guitars both parts are conventionally notated and have TAB charts. The haunting quality of the movement is well suited to this instrument combination. The music has been transposed from the original key of G minor. Close

March in D arr. electric guitar and bass

An arrangement for electric guitar and bass guitar of this characterful and lively march written in cut time. A tempo of 84 half note or minim beats i Show More...

An arrangement for electric guitar and bass guitar of this characterful and lively march written in cut time. A tempo of 84 half note or minim beats is used in the realisation and accompaniments are in place enabling both the electric guitarist and bassist to enjoy duet playing as part of practice routines. Ornaments are probably best omitted when learning the piece. Repeats are not in place in the accompaniments but if they are required please advise the PlentyMusic office. Both notated and TAB scores are in place. Close

Minuet in G arr. for two acoustic guitars BWV App.116

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

An arrangement for two guitars of this uplifting piece which features imitation in the writing and like many of Bach's short works composed in two sections. This binary (AB) form dance form movement needs to be played fluently and all notes need to be clearly articulated. TAB charts support the notated guitar parts. Close

Minuet in D minor arr. two acoustic guitars

An arrangement of the Minuet in D minor BWV App. 132 for guitar duet from the Anna Magdalena Notebook. The playback tempo of the realisation is 104 qu Show More...

An arrangement of the Minuet in D minor BWV App. 132 for guitar duet from the Anna Magdalena Notebook. The playback tempo of the realisation is 104 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the guitar 1 and guitar 2 parts whilst repeats are played. Both TAB and notated parts are available for this score. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was a collection containing music by J. S. Bach and several of his contemporaries. Close

Musette in D BWV App.126 arr. for two acoustic guitars

A lively piece with strong repetitive elements, ideal for duet playing. Notes need to be clearly articulated and the ostinato/drone accompaniment allo Show More...

A lively piece with strong repetitive elements, ideal for duet playing. Notes need to be clearly articulated and the ostinato/drone accompaniment allows flexibility in the stylistic interpretation. This arrangement of this rhythmical piece is for two guitars with dropped down tuning and there are supporting TAB charts. Close

Minuet in G BWV App.114 arr for guitar

A melody and chord arrangement of this familiar melody which could quite easily be played as a duet. Arranged for the beginner this resource has lette Show More...

A melody and chord arrangement of this familiar melody which could quite easily be played as a duet. Arranged for the beginner this resource has letter names of notes written in the note heads and a guitar chord chart to support the melody. Close

Minuet in G BWV App.114 arr. for two acoustic guitars

A melody and chord arrangement of this familiar melody attributed to J.S.Bach which could quite easily be played as a duet. There is TAB chart to sup Show More...

A melody and chord arrangement of this familiar melody attributed to J.S.Bach which could quite easily be played as a duet. There is TAB chart to support the melodic notation and guitar chords symbols. Close

Minuet in G BWV App.114 arr. two guitars

An arrangement for two guitars also known as guitar duo of this familiar piece from the Anna Magdalena Notebook with TAB support.

March in D arr. two guitars

An arrangement for two acoustic guitars of this adaptable and lively movement requiring dropped down D tuning. Both parts are written in conventional Show More...

An arrangement for two acoustic guitars of this adaptable and lively movement requiring dropped down D tuning. Both parts are written in conventional staff nation and TAB. Close

Minuet in G BWV App.114

Bach's familiar melody arranged for guitar with a helpful TAB chart

Minuet in G BWV App.114

A melody and chord chart for this popular Bach melody in G with no instruments specified.