Thank You!

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 Read 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 Read 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 Read 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 Read 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 Read 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. Read 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 Read 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

Lascia ch’io pianga (Let me cry) arranged organ

The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was revised in 1733. It is in ABA form and based on the sarabande rh Read More...

The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in the bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is option available to the organists although it is important to keep to the style and mood of the piece. This is very appropriate music for a solemn processional in an organ playing context. The use of three registrations is suggested and are indicated in the score. Rests have been indicated in all parts so that players have a clear understanding of the voicing. It is also a movement that invites interpretation and playing in different contexts. The arrangement is in the original key of F major although the tempo for the organ solo is more Larghetto than Largo which was the tempo indication in the opera. The video score plays back at a tempo of 66 half note or minim beats to the minute. Rests are indicated in the score enabling players to have a clear understanding of the voicing of the musical lines. Moskowski has also arranged the aria for piano. Close

It’s A Date

It's A Date is a beginner level piano/keyboard piece based on a 12 bar blues. As a beginner score the letter names of the notes appear in the note hea Read More...

It's A Date is a beginner level piano/keyboard piece based on a 12 bar blues. As a beginner score the letter names of the notes appear in the note heads and suggested fingering is in place. The tempo of the playback on the video score is 84 half note or minim beats to the minute.Players need to take notice of the accent signs marked in the score and keep their hands as light as possible. Playing a blues structured piece of music does encourage fluent playing and the development of musical memory. The 12 bar blues forms the basis of much popular music of the 20th century. Close

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 Read 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 Read 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 Read 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 Read 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. acoustic guitar + TAB and acoustic guitar + chord chart

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

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for 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 Read More...

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for 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 Read More...

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for 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 Read More...

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for 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 Read More...

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for 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 Read More...

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for 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 Read More...

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for 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 Read 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 Read 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 Read More...

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

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 Read 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 Read 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 Read 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 Read More...

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

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (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 Read More...

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in C19th Rio de Janeiro (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 and string/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 Read 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 and string/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 Read 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 Read 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 Read 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 Read More...

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for 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 Read More...

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for 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 Read More...

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for 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 Read More...

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. In this two part arrangement for 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 Read More...

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

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

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

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” which is appropriate near the end of a section and stringendo means progressively quickening in tempo. 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 Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Read More...

Santa Lucia has its origins as a Neopolitan 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. electric guitar & acoustic guitar

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

A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists with several different instrument combinations. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the score the most appropriate ranges of the instruments are explored and consequently there has been some simplifying of the texture in the guitar 2 part. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. In this arrangement A minor is the chosen key although G minor is the natural and most appropriate key for the work. G minor is however a challenging key for the guitar player whilst the work is definitely playable in A minor although some of the chord voicing in the guitar 2 part may need to further simplified. The realisation features an electric and an acoustic guitar. Guitar accompaniments are available at 54, 50 and 48 dotted quarter note (crotchet) beats to the minute. Close

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 Read 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 Read 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 Read 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 Read More...

Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and well suited to being played on an instrument like the guitar with dropped d tuning on the sixth string. There is a strong melodic element in this miniature 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 Read More...

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

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 Read More...

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

The Easy Winners arr. 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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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 & violoncello

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 Read 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 Read More...

This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option. This is an excellent piece of music to explore performing at a slow music tempo. 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, Read 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 Read 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

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. Read More...

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

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

Spring Song arr. 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 Read More...

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

Tango in D arr. mandolin, acoustic guitar & pizz. 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 Read 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 Read 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 Read More...

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

Twinkle Twinkle 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 Read 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 Read 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 Read 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 Read 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 Read 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 No TAB

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

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

Celibrated Minuet arr. 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 Read 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 Read 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 Read 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 Read More...

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishing and the manufacture of pianos. This arrangement 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. two guitars with TAB

This is a cut down shortened arrangement for guitar duo with TAB of this familiar piece from the string quartet repertoire. The music possesses classi Read More...

This is a cut down shortened arrangement for guitar duo with TAB of this familiar piece from the string quartet repertoire. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The music in the movement does sound easy to play although there are challenges in playing music of this era well and musically. In performance, the articulation of the notes needs to be consistent - the melody is to be played legato (Andante Cantabile) and the accompaniment staccato or at least in a detached manner. A tempo of 100 quarter note (crotchet) beats to the bar is suggested. Close

Serenade arr. two acoustic guitars

This is an arrangement for guitar duo (without TAB) of this familiar piece from the string quartet repertoire. The music possesses classical beauty an Read More...

This is an arrangement for guitar duo (without TAB) of this familiar piece from the string quartet repertoire. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The music in the movement does sound easy to play although there are challenges in playing music of this era well and musically. In performance, the articulation of the notes needs to be consistent - the melody is to be played legato (Andante Cantabile) and the accompaniment staccato or at least in a detached manner. A tempo of 100 quarter note (crotchet) beats to the bar is suggested. Close

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 Read 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 Read 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 & d.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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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 Read 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. 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 Read 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 Read 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. Ángel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close

El Choclo arr. guitar duo & 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 Read 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. Ángel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close

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 Read 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 Read 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 Read 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 Read 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 Read 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 Read More...

The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is 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 Read 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, ac. 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 Read 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) Read 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 Read More...

This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the 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 Read 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 Read 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 Read 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. Read 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. for 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. Read More...

Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. His Gymnopedie No. 1 is an attractive melodic piece which was 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 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 Read 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 Read More...

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

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate level arrangement 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 Read 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 Read 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 Read 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 Read 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 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 or acoustic guita Read 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 or acoustic 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 two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and provides very good opportunities to develop ensemble playing. Bach's music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Close

Jesu, Joy arr. 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 Read 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. for 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 with Read 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. for 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 familia Read 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 Read 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 No.8 in F arr. electric guitar & bass guitar

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement for electric guitar and b Read More...

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement for electric guitar and bass with tab is in the original key (F major). This busy uplifting movement requires a good technique and level of musicianship to be played accurately and at the recommended tempo of 96 quarter note (crotchet) beats to the minute. The players are not confined to playing the notes in the positions specified in the TAB charts as the guitar offers choices as to where notes can be played. Close

Bourrée in Em BWV 996 arr. two acoustic guitars

Arranged for two acoustic guitars with conventional notation with TAB support this particular bourrée shouldn't be played too quickly and a tempo Read More...

Arranged for two acoustic guitars with conventional notation with TAB support this particular bourrée 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 for a guitar duo. The realisation is lacking in tonal contrast. Close

Invention No.8 in F arr for two acoustic guitars

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

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for two acoustic guitars with tab transcribed to the key of A. This busy uplifting movement requires a good technique and level of musicianship to be played accurately and at the recommended tempo of 96 quarter note (crotchet) beats to the minute. The TAB charts may be helpful but do remember that when playing the guitar there are options as to where a note is played. Close

Invention No. 4 in Dm arr. for electric guitar & bass with TAB

An arrangement for electric guitar and electric bass guitar in the key of D minor for this music originally conceived as a keyboard piece. This flowi Read More...

An arrangement for electric guitar and electric bass guitar in the key of D minor for this music originally conceived as a keyboard piece. This flowing and reflective movement which should be played at a tempo which gives the music an uplifting feel rather a plodding one. A tempo of 72 dotted eighth note beats (dotted quaver) to the minute is suggested. These pieces are excellent for developing secure performing technique and an understanding of compositional techique in the baroque era. Both parts are notated in traditionally notated with TAB. Close

Invention No.4 in D minor arr. for two acoustic guitars

The Two Part Invention BWV 775 arranged for two acoustic guitars with tab and transcribed to A minor. Whilst conceived as solo keyboard pieces the Inv Read More...

The Two Part Invention BWV 775 arranged for two acoustic guitars with tab and transcribed to A minor. Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this particular work can be played successfully by a number of different instrument combinations. A flowing and reflective movement it needs to be played at a tempo which gives the music an uplifting feel rather a plodding one. A tempo of 72 dotted eighth note beats (dotted quaver) to the minute is suggested. Close

Invention No.14 in Bb arr. 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 Read 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 No.13 in Am arr. electric guitar & bass guitar + TAB

Whilst conceived as solo keyboard pieces the Two Part Inventions work really well when played as ensemble pieces and this particular work can be playe Read More...

Whilst conceived as solo keyboard pieces the Two Part Inventions work really well when played as ensemble pieces and this particular work can be played successfully by a number of different instrument combinations. Remember that in this style of music every note is important so a secure technique is essential. 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 conventionally notated scores are supported by TAB. Close

Invention No.13 in A min arr. for 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 Read 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

Minuet in A minor 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 Read 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 for electric guitar and bass

An arrangement for electric guitar and electric bass of this characterful and lively march in cut time by C.P.E.Bach. Both parts are notated conventio Read More...

An arrangement for electric guitar and electric bass of this characterful and lively march in cut time by C.P.E.Bach. Both parts are notated conventionally and also in TAB. Close

Minuet in G arr. for two acoustic guitars

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 Read 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 BWV App.132 arr. two acoustic guitars

An arrangement for two guitars of the melancholy piece attributed to J.S.Bach in the very expressive key of D minor. Much of the music that appears in Read More...

An arrangement for two guitars of the melancholy piece attributed to J.S.Bach in the very expressive key of D minor. Much of the music that appears in collections by Bach such as the "Anna Magdalena Bach Notebook"and attributed to him has often actually been composed by some else. 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 Read 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 Read 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 Read 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

March in D for 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 Read 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