This is a charming piece of music in 6/8 time and taken from one of Beethoven’s Sonatina’s for piano. In this arrangement for alto saxophone, elec Show More...
This is a charming piece of music in 6/8 time and taken from one of Beethoven’s Sonatina’s for piano. In this arrangement for alto saxophone, electric and bass guitar a tempo of 66 dotted quarter beats to the minute is ruded in the realisation. The music has been transposed to the key of F and individual parts are appended to the full score. This is the second movement of Beethoven’s Sonatina. Whilst attributed to the composer the sonatina from which this music is from may have actually been composed by someone else. The music is from a catalogue described as an appendix. One of the challenges of cataloguing the music from the distant past is attributing it to the right composer and this Sonatina falls into this category. Accompaniments are in place providing the alto saxophonist with the opportunity of playing in an ensemble as part of music practice routines. Scores are available with and without TAB for the guitar players. The repeats are not in place in the realisation or accompaniment scores. Close
Added: 16th January, 2026 12:01 PM |
Views : 30
This is a charming piece of music in 6/8 time and taken from one of Beethoven’s Sonatina’s for piano. In this arrangement for alto saxophone, elec Show More...
This is a charming piece of music in 6/8 time and taken from one of Beethoven’s Sonatina’s for piano. In this arrangement for alto saxophone, electric and bass guitar a tempo of 66 dotted quarter beats to the minute is ruded in the realisation. The music has been transposed to the key of F and individual parts are appended to the full score. This is the second movement of Beethoven’s Sonatina. Whilst attributed to the composer the sonatina from which this music is from may have actually been composed by someone else. The music is from a catalogue described as an appendix. One of the challenges of cataloguing the music from the distant past is attributing it to the right composer and this Sonatina falls into this category. Accompaniments are in place providing the alto saxophonist with the opportunity of playing in an ensemble as part of music practice routines. Scores are available with and without TAB for the guitar players. The repeats are not in place in the realisation or accompaniment scores. This one is without TAB for the guitar parts. Close
Added: 16th January, 2026 09:01 AM |
Views : 41
An uplifting trio arrangement for flute, acoustic guitar & bass of the Giga from Corelli’s Opus 5 Violin Sonata No.9. In 12/8 time the piece does ne Show More...
An uplifting trio arrangement for flute, acoustic guitar & bass of the Giga from Corelli’s Opus 5 Violin Sonata No.9. In 12/8 time the piece does need to be played with energy and a suggested tempo of 104 dotted quarter notes (crotchet) beats to the minute is suggested and has been used in the realisation. Repeats are indicated in the score but have not been used in the realisation.
Score detail has been omitted in the sheet music score although this is a usual feature of baroque music scores. Playing the A major scale and arpeggios would be good preparation for playing this work. An acoustic guitar could be substituted by aclassical guitar and an upright bass by a bass guitar. The baroque purists might object but there is great potential in performing this music in contemporary contexts.
The arrangement very much keeps to the composer’s intention in terms of the melodic and bass writing. There are some beautiful shapes to play and there is a considerable amount of sequential writing. Ornaments have been written out in the melody line simply to add clarity to the score.
Octave transpositions are in place in the lines to keep to practical ranges of instruments but they are always used sparingly.
The guitar accompaniment features largely 4 note chords in first position. The chord diagrams above the stave summarise how the chords are voiced and should be played. The music editor has avoided doubling thirds in chords encouraging what is considered to be good practice in chord voicing. The fact that the fifth is omitted in some chords suggests that textural considerations were always considered in the composing process.
The chords generally change every beat of the bar - this describes what is referred to as the harmonic rhythm and is a fairly consistent feature in the movement. An imaginative guitar player playing what is referred to as the continuo part could no doubt introduce some figuration into their part and no doubt explore the guitar fretboard more imaginatively than suggested in this arrangement.
Composers in Corelli's time provided a melody and bass line with what was termed a figured bass notated below the bass clef. The figured bass was a series of small numbers and accidendal signs which indicated to the keyboard player usually a harpsichordist in sonata da camera (chamber sonata) the chords that were needed to accompany the written out melody and bass. This part was referred to as the continuo.
Nothing under a bass note indicates a root, position chord, a 6 suggests a first inversion, a 6/4 a second inversion # confirms that the third in the chord is a sharp and numbers were used to indicate dissonances. Figured bass was a widely used convention in baroque times and did lead to different interpretations of music usually related to skill levels, teaching and understanding of figured bass conventions.
What the music editor particularly likes about this movement is its contemporary appeal and its suitability to be played by many different combinations of instruments.
As a performance piece it has clear intention, communication and direction
Corelli 1653 – 1713 was a Rome based composer and violinist identified with the middle baroque period in music history. Corelli did not publish a great amount of music but he was meticulous in his compositional approach. The twelve violin sonatas in the Opus 5 collection were published in 1700. Close
Added: 15th August, 2025 10:08 AM |
Views : 1277
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for 2 electric guitars & 4-string bass guitar. In the pdf download the attached parts have both notat Show More...
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for 2 electric guitars & 4-string bass guitar. In the pdf download the attached parts have both notated & TAB scores for guitar players.
In the arrangement the music has been transposed to the key of E minor with the full range of the instruments explored. The TAB scores attached are a fairly literal interpretation of the note positions and guitarists well may feel that the suggestions can be improved. For those who can provide a better option please send an updated TAB chart to PlentyMusic and we will upload it with an acknowledgement.
The realisation playback at 60 dotted quarter note or crotchet beats to the minute. Remember that good music performances come from good preparation.
In this version ornaments have been omitted.
Playing the E minor scale in all its forms natural, harmonic and melodic would be excellent preparation for playing this sinfonia. Find scales in the free scores drop down menu on the website home page.
The voice leading in this sinfonia is not altogether straightforward and players will need to pay attention to the accidentals in the score possibly adding reminders if required. Conflicting accidentals often appear in different voices in the same bar.
A sinfonia that features arpeggios and scale runs with the rhythmic shapes in the lines having a strong repetitive element. The note values given in Bach’s Sinfonias often give an indication of intended articulations that are intended. Players should be aiming for a singing legato in their playing.
The movement needs to be played, in the first instance, with an awareness of the patterns of 3 in the 12/8 time signature (4x3 to the bar).
Accompaniments are in place playing at 56, 58, 60, 62 & 64 dotted quarter note (crotchet) beats per minute (bpm). They feature the sound of the electric guitar 2 & 4-string bass enabling the electric guitar 1 player to enjoy ensemble music as part of routine practice. There is a one bar click track sounding on the woodblock as an intro on the mp3 tracks.
It is important to keep to the written note durations. There are also some ambiguities in the voicing in the score that reference that the sinfonias were composed for an instrument with more than one keyboard – the harpsichord.
Rests have been indicated in the voices as they are in the keyboard version of the works
Some of the rhythmic notation particularly with regards to the use of rests is ambiguous. Logic and rules do not universally apply. What tends to be in place is what is good for the eye.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills and good intonation in an ensemble playing context.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with Bach’s contrapuntal writing namely: repetition, inversion, imitation, augmentation, diminution. In these works the closely related keys of the dominant, sub- dominant, relative minor are explored
The movement should not be played too quickly. The music editor’s advice is that players need to be clear in their intention as far as the articulation of the lines and the dynamics. Whilst a movement that needs to be played with control there also needs to be a lightness of intention in the playing approach.
PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close
Added: 26th June, 2025 11:06 AM |
Views : 1340
Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for soprano saxophone, electric guitar & bass guitar. One of the most Show More...
Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for soprano saxophone, electric guitar & bass guitar. One of the most familiar pieces of the Spanish repertoire this arrangement from PlentyMusic is now available to download.
The plentymusic sheet music video and realisation plays back at a tempo of 112 quarter note beats per minute. The tempo in the arrangement is constant.
Accompaniments are in place featuring the acoustic guitar & upright bass. They play back at 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute.
There are many arrangements of this music available from the PlentyMusic sheet music library combining many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using these professionally prepared resources.
The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. There are a number of octave transpositions in the soprano part to avoid notes outside the instrument’s range. In this trio version the introduction has been shortened and the chords played on the electric guitar have been voiced appropriate for the guitarist to be playing in essentially first position.
As there are no percussion instruments in the scoring the arranger has omitted the tremolos from bars 65-71 doubling the flute melody with bass line.
Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the elements of the Spanish idiom and style.
The second section has an appealing syncopated melody with some lightening of the musical texture.
The solo line played needs to be played with confidence and accuracy. It is also an excellent test as an ensemble piece requiring good communication between the soloist & accompanying guitar and bass. The solo part is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach.
The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Martellato means strongly accented.
Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound.
This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed!
A great movement for both the player and the listener for its dramatic and musical qualities. The composition dates from 1923 and was recorded as early as 1926.
Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone). The cadences in Spanish music have a characteristic sound
The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism.
The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. The conception of the dance is a re-imagining of the movements of the Spanish matador in the bull ring. Close
Added: 16th March, 2025 07:03 AM |
Views : 2384
guitar & bass. If guitar and bass players require a TAB score please download the other version of this score.
Download the sheetmusic and an accompa Show More...
guitar & bass. If guitar and bass players require a TAB score please download the other version of this score.
Download the sheetmusic and an accompaniment or two by using the free credit given when signing up to PlentyMusic.
Swing style accompaniments featuring the acoustic guitar & bass are available playing at 94, 96, 98, 100, 102 & 104 quarter note (crotchet ) beats per minute giving the flautist opportunity to practice in an ensemble context as part of practice routines
Music leaders and music students should become familiar with the PlentyMusic integrated instrumental music teaching programme whereby a large number of instruments can share repertoire and practice strategies.
Individual instrument parts are appended to the full score. The music editor envisages a crossover approach when playing this arrangement possibly combining electric and acoustic instruments. Tchaikovsky composed many beautiful melodies and was a master of harmony often presenting music melancholy in mood.
PlentyMusic uses music software to produce pdf and mp3 resources that improve music practice routines. The PlentyMusic integrated instrument teaching programme provides a management structure and pathways to music performance.
The PlentyMusic classical sheet music realisation and sheet music video plays back at 100 quarter note (crotchet) beats to the minute. In a playing context a slower tempo can be considered.
In the arrangement there are a number of octave transpositions in the bass part. In the guitar part 4 notes for each chord generally sound in the realisation although the chord symbols in place may indicate/suggest more than 4 notes to be played. The chords suggested are generally in first position and there is some flexibility as to the number of notes that can be sounded. Chords are described referencing the bass note that is played although it may not be a note actually being played by the guitarist. For the guitarist and bass guitarist TAB scores are also in place. In the middle section the guitarist is required musical lines and so the chord notation has been omitted.
One of Tchaikovsky’s most popular pieces composed in 1878 for piano this arrangement for flute, guitar & bass is in the key of A minor. It is a ternary form ABA movement in a reflective melancholy mood.
It has a regular phrase structure and the melodic line needs to be played with a singing legato.
When performing the music be aware that tempo changes particularly at the end of phrases are appropriate. The music needs to be delivered with expression and a broad range of dynamics.
Playing the A minor scale in both the harmonic and melodic forms in a swing style would be excellent preparation for playing this intermediate level work. Close
Added: 8th February, 2025 08:02 AM |
Views : 3594
Tchaikovsky’s Chanson Triste arranged for flute, acoustic guitar & bass. Accompaniments featuring the acoustic guitar & bass are available playing a Show More...
Tchaikovsky’s Chanson Triste arranged for flute, acoustic guitar & bass. Accompaniments featuring the acoustic guitar & bass are available playing at 94, 96, 98, 100, 102 & 104 quarter note (crotchet ) beats per minute giving the flautist opportunity to practice in an ensemble context as part of practice routines
Individual instrument parts are appended to the full score. The music editor envisages a crossover approach when playing this arrangement possibly combining electric and acoustic instruments. Tchaikovsky composed many beautiful melodies and was a master of harmony often presenting music melancholy in mood. The arrangement can also be played in a swing style. Listen to this option on the website.
The realisation plays back at 100 quarter note (crotchet) beats to the minute. In a playing context a slower tempo can be considered.
In the arrangement there are a number of octave transpositions in the bass part. In the guitar part 4 notes generally sound in the realisation although the chord symbols in place may indicate/suggest more than 4 notes to be played. The chords suggested are generally in first position and there is some flexibility as to the number of notes that can be sounded. Chords are described referencing the bass note that is played although it may not be a note actually being played by the guitarist. TAB scores are also in place. In the middle section the guitarist is required musical lines and so the chord notation has been omitted.
One of Tchaikovsky’s most popular pieces composed in 1878 for piano this arrangement for flute, guitar & bass is in the key of A minor. It is a ternary form ABA movement in a reflective melancholy mood.
It has a regular phrase structure and the melodic line needs to be played with a singing legato.
When performing the music be aware that tempo changes particularly at the end of phrases are appropriate. The music needs to be delivered with expression and a broad range of dynamics.
Playing the A minor scale in both the harmonic and melodic forms would be excellent preparation for playing this intermediate level work. Close
Added: 7th February, 2025 08:02 AM |
Views : 2512
Joaquin Malats Serenata Española from his Impressions of Spain arr. 4 acoustic guitars & bass guitar Individual instrument parts are appended to the Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. 4 acoustic guitars & bass guitar Individual instrument parts are appended to the full sheet music score in the pdf download. #sheetmusic & accompaniments download link: coming soon
Use the signing up free credit facility to download the score and parts & possibly an accompaniment.
A sunny piece that features many characteristics typical of Spanish music. There is no reason why the parts cannot be doubled to make this an exciting ensemble piece. There are many times of guitar that can be incorporated into a playing group making this a great learning piece for so many guitarists. Whatever guitar types are available can be used & there is no reason why a mix of guitars cannot be used with classical, folk, steel, and electric guitars being substituted. As a concert piece classical guitars supported by either an acoustic or electric bass instrument would be ideal. Scores can be printed out with 2 pages per sheet offering an opportunity to save on page turning.
Accompaniments are in place enabling the guitar 1 part to practice and play as part of an ensemble. They play at 104, 108,112,116 & 120 bpm. There is a 4 bar click track to prepare players for this ensemble experience.
All instruments playing in this arrangement create the sound by plucking the strings. In this arrangement the long trill in the guitar 1 has been omitted simply because a long trill is hard to sustain on an acoustic instrument.
Remember that the classical guitar and bass guitar are transposing instruments sounding an octave lower than written in the music score.
The workability of this arrangement does need to be evaluated and PlentyMusic would value feedback from musicians trying out this arrangement. It is possible that there are better octave options in the parts that could be explored particularly the guitar 2 & 3 parts. Where there are challenges with stretches in the guitar parts with more than one note being played the instrumentalist needs to chose or be advised on the most appropriate option.
animando used in the score implies an increase in tempo and has been placed above the stave as a score marking
The music in this arrangement has been transposed from the key of G minor to A minor.
The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata.
This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music of Dvorak, Smetana, Grieg, Granados & Albeniz amongst others.
Playing the scale in the sounding key of A in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode.
In this movement many of characteristic musical sounds of Spain are captured in a score that suggests many images of the country. There is also much figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail.
This movement music was composed and published in the last decade of the 19th century.
There were some ambiguities in the source scores available to the music editor who has spent time removing most errors and inconsistencies.
It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone)
Modal shifts from minor to major also feature
The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases.
Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A)
Spanish music is often dramatic and on occasions invites exaggeration in performance. Close
Added: 27th December, 2024 09:12 AM |
Views : 2228
J.S. Zamecnik’s Polly in an arrangement for marimba, flute, guitar & bass This novelty piece published in 1926 is a lively movement that needs to be Show More...
J.S. Zamecnik’s Polly in an arrangement for marimba, flute, guitar & bass This novelty piece published in 1926 is a lively movement that needs to be played in a swing style. The realisation score plays back at 64 half note or minim bpm.
In this arrangement rehearsal markings are in place in the score with the music sounding in the original key of D. The pdf #sheetmusic download has individual instrument parts appended to the full score. Electric or acoustic guitars can be used and either electric bass guitar or acoustic bass. There is a strong chromatic element in this movement which has a formal structure related to the American march form. Additionally there is a strong repetitive element in the use of shapes and motifs which is often a feature in the popular music idiom. Modern instruments are tonally much stronger than the instruments of the 1920’s and some of the indicated articulation markings may need to be reviewed by players.
The marimba is presented as the solo instrument in the arrangement with the flute providing the fills and links at the end of phrases. The guitar part is fairly straight forward although some of the chords have been revoiced so that the chord choices are straightforward. In the appended parts chord symbols are in place to assist players where they are appropriate.
This is a mix and match arrangement so other arrangements in D, flute, cello and bassoon can make use of this choice of accompaniment for practicing.
Popular music idioms in the modern sense were established in the first decade of the 20th century first with ragtime and then with related styles like novelty piano, stride piano and subsequently with blues and jazz styles and much later other combinations . Musicians as such were provided with a career choice of either pursuing the popular or more serious classical idiom. Interestingly many successful popular music composers and performers in the early 20th century were classically trained.
The realisation plays back at 62 half note or minim beats to the minute. Accompaniments are in place playing back at 58, 60, 62, 64, 66, 68, 70 and 72 half note or minim beats to the minute.
The conventions used in the notation of swing music are confusing and not altogether consistent so thare are a few rhythmic ambiguities in the score Time spent listening to performances of this piece will be helpful. It is communicating the swing style element that is important when the music is played. The triplet pattern or shape is the key rhythmic element.
John Stepan Zamecnik had a successful career as a composer of music for film or more accurately silent films commonly referred to as photoplay music. As a composer he frequently used pseudonms. It would be interesting to ask him why? Whilst American by birth he studied music in Prague with Dvorak in the mid 1890's. Much of his working life was spent in the city of Cleveland. Close
Added: 21st June, 2024 13:06 PM |
Views : 3948
J.S. Bach’s Invention 9 BWV 780 arranged electric guitar & bass guitar duo in its original key of F minor. A challenging invention to play particula Show More...
J.S. Bach’s Invention 9 BWV 780 arranged electric guitar & bass guitar duo in its original key of F minor. A challenging invention to play particularly from the note reading point of view. The #sheetmusic video plays back at 58 bpm and the music is presented in both staff notation & TAB.
The arrangement is based on the original piano score. There are many accidentals to read and it is easy to make music reading errors.
A legato playing approach is required in the playing in what is a slow tempo and melancholy movement.
In the sheet music score the ornaments are indicated but do not sound. The ornamentation in place is placed at the important cadence points in the movement. In the keyboard video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. The full score is presented in staff notation and the parts with the option of staff notation and TAB. Bass guitar players may well want to experiment with the octave choices in the higher sounding sections bars 5-7 and elsewhere in the movement.
Accompaniments are in place allowing guitarists to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 52, 54, 56, 58, 60, 62 & 64 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks.
Playing the music of Bach is challenging and his style is demanding and uncompromising in the consistency required to perform it accurately. As a composer Bach is not so much an innovator but one of those who brings all the musical elements of his time together and takes them to an altogether much higher artistic and technical level.
The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent ensemble movements. Close
Added: 19th March, 2024 08:03 AM |
Views : 2357
J.S.Bach’s Invention 10 BWV 781 in an arrangement for electric & bass guitar duo in the original key of G. This Invention features many musical sha Show More...
J.S.Bach’s Invention 10 BWV 781 in an arrangement for electric & bass guitar duo in the original key of G. This Invention features many musical shapes based on chords and consequently lends itself to chord playing instruments. The realisation plays back at 84 dotted quarter (crotchet) note beats to the minute.
Whilst score detail is generally not in place on Bach scores although it is necessary for instrumentalists to have a clear intention of how the music is to be played. Guitar players have the option of using either a notated or TAB score. As notes can be played in different positions on the electric and bass guitar fretboards players may well want to review the suggestions given in the PlentyMusic TAB scores.
Players should listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. Remember also that movements cannot be played quickly until they be played slowly!
In the video score, ornaments are indicated by symbols but do not sound in the playback. For instrumentalists wishing to incorporate ornamentation into their performances refer to the piano realisation featured on our YouTube channel which has the ornamentation written out exactly as the music editor suggests they should be played.
https://youtu.be/xuQK5i2lf44
Ornamentation is an aspect of performance that invites different and frequently contrasting interpretations. Bach’s music belongs to the baroque era and whilst the composer himself was quite clear about the ornaments he used and how they should be played later editors of his music have often added to original intentions. The inventions are also probably best studied in the first instance without ornaments in place.
An additional factor is that the intended instrument on which the inventions were played, the harpsichord, is one that does not feature sustained sounds. Long notes as such require some sort of addition, hence the need for ornamentation.
Another view or approach to ornamentation is that apart from adding to the music they should have a sense of being improvised.
The music editor has chosen not to double ornaments where they occur in both voices simply because it lessens the contrast in the parts.
Accompaniments are in place allowing guitarists to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and bass guitar on the other. The accompaniment tracks play back at 72, 76, 80, 84, 88, 92, 96 100 104 and 108 dotted quarter note (crotchet) beats per minute. There is two bar count in /click track at the beginning of the accompaniment tracks. There are three dotted quarter or crotchet beats to the bar indicated by the 9/8 time signature.
Should more accompaniments be required at either slower or faster tempi please advise the PlentyMusic office.
Whilst the ornaments are indicated in the sheet music score they do not sound in the accompaniment scores. For those intending to play the ornaments refer to the piano sheet music video on our YouTube channel. In this score the ornaments have been written out as they should be played. https://youtu.be/xuQK5i2lf44
The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation and diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure technique. Close
Added: 15th February, 2024 08:02 AM |
Views : 2237
J .S. Bach’s Invention 11 BWV 782 arranged for electric guitar and bass guitar is a work exploring the minor scale. The chromatic element in the mov Show More...
J .S. Bach’s Invention 11 BWV 782 arranged for electric guitar and bass guitar is a work exploring the minor scale. The chromatic element in the movement is strong and the accidentals make this a challenging score to read and commit to memory.
The best preparation for playing this movement is to play the minor scale appropriately transposed in both its forms slowly until the sound of each is familiar. The original keyboard version of the 15 Bach Inventions are in 15 different keys and provide excellent examples to familiarisers players with the key system.
Ornaments are not in place in this arrangement. The full music score is presented in staff notation and the attached parts are in staff notation and TAB. The guitar is an instrument where the same note can be played on different strings so players may well wish to review the rather literal translation of the notes to TAB.
The playback score in the arrangement for the electric guitar and bass guitar has a tempo of 60 quarter note or crotchet beats to the minute. The suggestion is that the movement can be played both at slower and faster tempo.
The inventions are concentrated demanding movements to play in an ensemble context but excellent for encouraging listening skills, good intonation and accurate playing.
The movement is probably best learnt without the ornaments in place in the first instance.
Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing does need to be avoided.
Accompaniments are in place allowing electric guitar and bass guitar players to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel with the bass guitar on the other. The accompaniment tracks play back at 56, 58, 60, 62, 64, 66 and 68 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks.
Instrumentalists should spend time listening to performances of the work by a range of musical instruments to understanding playing approaches.
Players will possibly need to edit their scores with reminders about accidentals within the bar.
The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Playing levels will perhaps need to be reviewed when different instrument combinations are involved.
The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity.
Those learning how to use music notation software and improve their listening skills will find this an excellent study to copy simply because of the many accidentals that require attention from the listening and notation point of view. Accurate notation will suggest an excellent understanding of the staff notation system. Close
Added: 21st January, 2024 13:01 PM |
Views : 2323
J.S. Bach’s Invention 14 BWV 785 arranged electric guitar & bass guitar in the key of Bb is a rhythmical work and a movement in which figuration is Show More...
J.S. Bach’s Invention 14 BWV 785 arranged electric guitar & bass guitar in the key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation.
Remember that the guitar and bass guitar are transposing instruments sounding an octave lower than written. There are some octave transpositions in the bass guitar part to keep to the range of the instrument.
Guitarists have the choice of reading a notated or TAB score. TAB scores have a useful function because they locate the position of the notes on the fretboard although the same note can be played on different strings in different positions. The PlentyMusic TAB score is a literal translation of the score and not necessarily the best solution for playing the notes.
Ornaments are omitted in this movement but are replaced by challenging and rhythmic figuration. Players need to have a vision and understanding of the phrasing needed before playing this movement.
Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores.
The realisation plays back at 56 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement.
Accompaniments are in place allowing electric guitar and bass guitar players to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 52, 54, 58, 60 and 62 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks.
There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media.
The Bach Inventions are generally intermediate level movements when played on a keyboard instrument.
The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. Close
Added: 17th November, 2023 16:11 PM |
Views : 2861
Serenade by R. Hoffstetter is a popular movement from the classical repertoire that can be arranged for many different combinations of instruments. Th Show More...
Serenade by R. Hoffstetter is a popular movement from the classical repertoire that can be arranged for many different combinations of instruments. This arrangement for guitar trio requires two six string and a 4 string bass. In the PlentyMusic realisation electric guitars have been used and the pdf download has conventional notation and TAB charts in place. Improve music practice routines by downloading this sheet music score and accompaniments from PlentyMusic.
The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato whilst the guitar and bass accompaniments offer an appropriate contrasting accompaniment. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested. Individual parts are appended to the full score available as a pdf download from the PlentyMusic website.
The repeats which are not marked in the video score do not play in the realisation or video score. mp3 piano accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments provide the guitar 1 player with the opportunity to practice in an ensemble context. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments establishing the tempo.
An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. It’s a movement that gives opportunity to players to learn much about classical music from the playing, musicianship and theoretical perspectivies.
The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. The ornaments, acciaccaturas (crushed notes) are probably best omitted in the early stages of playing the movement.
This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency.
The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity.
Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close
Added: 4th April, 2023 09:04 AM |
Views : 3231
Serenade by R. Hoffstetter is a popular movement from the classical repertoire that adopts well to a crossover interpretation. This arrangement for a Show More...
Serenade by R. Hoffstetter is a popular movement from the classical repertoire that adopts well to a crossover interpretation. This arrangement for alto saxophone, electric guitar & bass guitar has the PlentyMusic realisation playing back at 94 quarter note (crotchet) beats to the minute. Improve music practice routines by downloading this sheet music score and accompaniments from PlentyMusic.
The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato whilst the guitar and bass accompaniments offer and appropriate contrasting accompaniment. Observant listeners will recognise that not all the ornamaments sound in the realisation. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested while individual parts are appended to the full score available as a pdf download from the PlentyMusic website.
The repeats which are not marked in the video score do not play in the realisation or video score. mp3 piano accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments provide the alto saxophone player with the opportunity to practice in an ensemble context. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments to establish the tempo.
An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers.
The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. In the video score available on our YouTube channel all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) are probably best omitted in the early stages of playing the movement.
This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency.
The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity.
Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close
Added: 3rd April, 2023 10:04 AM |
Views : 3170
Bach J.S. Sinfonia 11 BWV 797 arranged for marimba, guitar & upright bass. The Sinfonia arrangements from PlentyMusic are excellent movements to impro Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for marimba, guitar & upright bass. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines.
The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the marimba player the opportunity of playing in an ensemble. For this arrangement it would be fine for any of the accompaniments for Sinfonia 11 in the key of G minor to be used so that a mix and match approach is possible.
In this arrangement the marimba plays voice 1, the guitar voice 2 and the upright bass voice 3. The trio realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. Individual instrument parts are appended to the full music score that can be downloaded from the PlentyMusic website. The guitar and double bass are both transposing instruments and sound an octave lower than written. This means that the bass part is an octave lower than intended from Bach’s original writing. In the realisation an electric guitar sound has been used but could be substituted by an acoustic guitar. For that matter, an electric bass could also substitute for an upright bass. The fact that the bass sound is an octave lower does create great space in the texture.
The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone.
This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
Rehearsal marks are in place at bars 17, 33, 48 and 65 on the music score although the music editor suggests that in music of this style players will know immediately when they not quite together.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences.
Do make sure that your instrument is in tune before playing with an accompaniment.
PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close
Added: 2nd January, 2023 19:01 PM |
Views : 3614
When The Saints Go Marching In arranged for two guitars (electric or acoustic) and bass guitar in the key of D. The playback tempo is 100 half note o Show More...
When The Saints Go Marching In arranged for two guitars (electric or acoustic) and bass guitar in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the bass player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. There are TAB scores for the Guitar 1 part and bass guitarist whilst chord shapes are indicated in the Guitar 2 part.These are appended to the full score. The accompaniment mp3 features a string bass in the playback. Close
Added: 14th August, 2019 08:08 AM |
Views : 4428
When The Saints Go Marching In arranged for flute, acoustic guitar and string bass in the key of D. The playback tempo is 100 half note or minim beat Show More...
When The Saints Go Marching In arranged for flute, acoustic guitar and string bass 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. The flute has the option of playing the repeat at the octave as indicated in the score. Chords have also been indicated in the guitar score and there is a TAB score for the bass guitarist. Individual parts are also appended to the full score. There are accompaniment mp3 in place to encourage ensemble playing. Close
Added: 14th August, 2019 08:08 AM |
Views : 3900
When The Saints Go Marching In arranged for pitched percussion (marimba), acoustic guitar and bass guitar in the key of D. The playback tempo is 100 Show More...
When The Saints Go Marching In arranged for pitched percussion (marimba), 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. The marimba player has the option of playing the repeats an octave higher whilst chords shapes have been indicated in the guitar score and the bass guitar is notated both conventionally and TAB. Individual parts are appended to the full score. The accompaniment mp3 features a string bass in the playback. Close
Added: 14th August, 2019 08:08 AM |
Views : 4800
When The Saints Go Marching In arranged for violin, acoustic guitar and bass guitar in the key of D. The playback tempo is 100 half note or minim bea Show More...
When The Saints Go Marching In arranged for violin, 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. The violinist has the option of playing the repeat at the octave as indicated in the score. Chords have also been indicated in the guitar score and there is a TAB score for the bass guitarist. Individual parts are also appended to the full score. The accompaniment mp3 features a string bass in the playback. Close
Added: 14th August, 2019 07:08 AM |
Views : 3919
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on lo Show More...
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. This arrangement is notated conventionally and players will move on to possibly explore the folk rock style in their ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. The score is presented with minimal score detail as is usually the case with folk music. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the bass guitar playing the bass line at tempi of (1) 132 (2) 120 and (3) 112 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close
Added: 18th December, 2018 09:12 AM |
Views : 3961
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on lo Show More...
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. This arrangement includes both conventional notation and TAB and players can possibly explore the folk rock style in their ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. The score is presented with minimal score detail as is usually the case with folk music. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the bass guitar playing the bass line at tempi of (1) 132 (2) 120 and (3) 110 quarter note (crotchet) beats to the minute.There is two bar click track introduction before the music starts to play. Close
Added: 18th December, 2018 09:12 AM |
Views : 4461
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for two mandolins, acousti Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for two mandolins, acoustic guitars and acoustic or electric bass in G the realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. Individual instrument parts are appended to the full score. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented by letters as I AA BB AA CC DD. Close
Added: 20th November, 2017 11:11 AM |
Views : 5485
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for marimba, two guitars a Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for marimba, two guitars and acoustic or electric bass 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. Close
Added: 20th November, 2017 11:11 AM |
Views : 6018
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for three acoustic guitars Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for three acoustic guitars in G and acoustic or electric bass the realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. Individual instrument parts are appended to the full score. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented by letters as I AA BB AA CC DD. This would be an ideal concert piece for three guitar players who could possibly also explore the option of sharing the repeats. Close
Added: 20th November, 2017 10:11 AM |
Views : 4744
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. 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. Individual instrument parts are appended to the full score and bass could be either an electric or acoustic instrument. Close
Added: 27th July, 2017 11:07 AM |
Views : 3574
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for flute, acoustic guitar and bass (electric or upright) in the key of C a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as demonstrated in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. In this realisation note that an upright bass is used but this can be easily substituted. Close
Added: 27th July, 2017 11:07 AM |
Views : 5194
Mozart's Minuet in F in an arrangement for tenor saxophone and bass guitar in the original key of F. The bass guitar part is both conventionally nota Show More...
Mozart's Minuet in F in an arrangement for tenor saxophone and bass guitar in the original key of F. The bass guitar part is both conventionally notated and also has a TAB chart whilst the tenor saxophone part is appropriately transposed. Mozart's piece is of 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 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
Added: 27th July, 2017 11:07 AM |
Views : 3934
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His c Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. 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. The TAB parts for the acoustic and bass guitar means that the score is quite cluttered so I would advise switching to the non TAB score when the music has been learnt. If an accordion is not available a keyboard instruments with an accordion/free reed sound can be used. Close
Added: 27th July, 2017 11:07 AM |
Views : 3803
This is shortened version of Mozart's Alla turca in an arrangement for a café style type of ensemble comprising accordion, guitar and bass. In the re Show More...
This is shortened version of Mozart's Alla turca in an arrangement for a café style type of ensemble comprising accordion, guitar and bass. In the realisation both guitars are electric and if a accordionist is not available then another instrument, at pitch, could be substituted. 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 100 quarter note (crotchet) beats to the minute is suggested for a café/contintental style type ensemble which is a bit slower than the than recommended. It is a very adaptable piece stylistically and in the repetoire of classical musicians, folk bands, jazz groups and café style ensembles. Close
Added: 27th July, 2017 11:07 AM |
Views : 3274
This is shortened version of Mozart's Alla turca in an arrangement for two guitars and bass. In the realisation the melody and bass are played by el Show More...
This is shortened version of Mozart's Alla turca in an arrangement for two guitars and bass. In the realisation the melody and bass are played by electric guitars and the accompaniment by an acoustic. The arrangement invites a mix and match approach as to whether electric or acoustic instruments are used. It should be an easy piece to learn in that it one of the the most immediately recognisable and popular pieces of music in the repetoire. It was Mozart himself who titled the piece Alla truce (Turkish March) as the music was intended to imitate the sounds of the instruments in the then familiar Turkish military bands. Understood to have been composed in 1783, a tempo in the range 110-120 quarter note (crotchet) beats to the minute is suggested. It is a very adaptable piece stylistically and in the repetoire of classical musicians, folk bands, jazz groups and café style ensembles. In the realisation one guitar has steel strings whilst the other has nylon to enhance the tonal contrast. Close
Added: 27th July, 2017 11:07 AM |
Views : 4411
This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for flute, acoustic guitar and bas Show More...
This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for flute, acoustic guitar and bass guitar, of the first section of the piece, the melody is played by the flute while the arpeggio chords are played by the acoustic guitar supported by a bass guitar. A tempo of 100 quarter note (crotchet) beats to the minute is suggested and the flute has the option of playing the melody up an octave on the repeat. Both guitar parts have TAB support. The rondo was composed by Clementi, known in his own time as a teacher, composer, performer and even as a manufacturer of pianos spending most of his adult life living in England. His Opus 36 Sonatinas are a rich source of music for piano players. A rondo is a piece with a recurring theme although only the A or first section is featured in this improver arrangement intended to introduce players of these instruments to ensemble playing. Close
Added: 27th July, 2017 11:07 AM |
Views : 3673
This is a charming piece of music in 6/8 time and taken from one of Beethoven's Sonatinas for piano. In this arrangement the alto saxophone plays the Show More...
This is a charming piece of music in 6/8 time and taken from one of Beethoven's Sonatinas for piano. In this arrangement the alto saxophone plays the melody whilst tenor saxophone accompanies playing broken chords with a bass line provided by a bass guitar. A tempo of 66 dotted quarter beats to the minute is recommended and as the music sounds in the key of F appropriate transcriptions have been made to the saxophone parts. Close
Added: 27th July, 2017 11:07 AM |
Views : 4588
An arrangement for mandolin, acoustic guitar and double bass of this song chorus that demonstrates many of the essential elements of an emerging popul Show More...
An arrangement for mandolin, acoustic guitar and double bass of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. There are chord symbols/diagrams to assist the guitar player whilst the slash chord symbol is used to indicate the rhythm of the strumming pattern in conventional staff notation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3915
An arrangement for two guitars and electric bass of this song chorus that demonstrates many of the essential elements of an emerging popular music sty Show More...
An arrangement for two guitars and electric bass of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. In the realisation the melody is played by a muted electric guitar the chords are played by an acoustic guitar and the bass by a fretted bass guitar. There are chord symbols/diagrams to assist the acoustic guitar player whilst the slash chord symbol is used to indicate the rhythm of the strumming pattern in conventional staff notation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4803
An arrangement for banjo, acoustic guitar and electric bass with TAB of this song chorus that demonstrates many of the essential elements of an emergi Show More...
An arrangement for banjo, acoustic guitar and electric bass with TAB of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. In this version, the guitar player is required to play selected notes of the chord and these are notated both in conventional staff notation and TAB. Close
Added: 27th July, 2017 11:07 AM |
Views : 3804
An arrangement for two guitars and electric bass, all with TAB, of this song chorus that demonstrates many of the essential elements of an emerging p Show More...
An arrangement for two guitars and electric bass, all with TAB, of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. In the realisation the melody is played by a muted electric guitar, whilst selected notes of the chord are sounded by an acoustic guitar and the bass by a fretted bass guitar. Close
Added: 27th July, 2017 11:07 AM |
Views : 4683
An arrangement for two guitars and electric bass of this song chorus that demonstrates many of the essential elements of an emerging popular music st Show More...
An arrangement for two guitars and electric bass of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. In the realisation the melody is played by a muted electric guitar, whilst selected notes of the chord are sounded by an acoustic guitar and the bass by a fretted bass guitar. There is no TAB support in this version. Close
Added: 27th July, 2017 11:07 AM |
Views : 4187
An arrangement for two guitars & bass guitar of this piece intended to introduce players to the musical elements that feature in ragtime. The guitar p Show More...
An arrangement for two guitars & bass guitar of this piece intended to introduce players to the musical elements that feature in ragtime. The guitar playing the melody has TAB supporting the notation whilst the guitar playing chords has symbols/chord diagrams to assist the player. The bass guitar part is also has TAB supporting conventional staff notation. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended and it is suggested that the piece is is played through twice as it is in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3913
In this arrangement of the ragtime waltz for banjo, acoustic guitar and bass guitar each of the instruments has conventional notation with TAB. The ba Show More...
In this arrangement of the ragtime waltz for banjo, acoustic guitar and bass guitar each of the instruments has conventional notation with TAB. The banjo is tuned G, D, G, B, D which is known as open tuning and is the most generally used 5-string banjo tuning. The acoustic guitar chords are notated with both chord symbols/diagrams and the notes to be sounded in staff notation. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is the one used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3726
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". The instruments specified are electric guitar Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". The instruments specified are electric guitar & bass guitar but these could be substituted by acoustic instruments. The slur markings appear in the conventionally notated music score but not the TAB version. Players once they are familiar with the music can introduced and apply some guitar techniques characteristic of the instrument - "pull offs" and "hammer ons" - to the melody line. However, it may also be necessary to change some of the TAB positions and strings currently specified to ensure consistency in the playing approach. This is probably quite a challenge for an improver level guitarist but the TAB support should help and the triplet figuration has been omitted. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 4053
This arrangement is for banjo, acoustic guitar and bass guitar with each instrument part having TAB. As such it is quite a long score so that when the Show More...
This arrangement is for banjo, acoustic guitar and bass guitar with each instrument part having TAB. As such it is quite a long score so that when the parts are familiar I would suggest switching to the other version of this piece without TAB. 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 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
Added: 27th July, 2017 11:07 AM |
Views : 3221
Ignacio Cervantes (1847 - 1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) Show More...
Ignacio Cervantes (1847 - 1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) originally composed for piano is one of his Danzas Cubanas exploring the habanera rhythm. It is a short piece usually played through twice in a performance. It has a haunting quality and is suited to being played by a number of different instrument combinations. His music combines Cuban, European and African elements and he was fortunate in being able to travel to Paris to further his music studies studying with Charles-Valentin Alkan and others. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 4119
A familiar melody used to introduce some of the stylistic elements of playing classical music in a two part context. This arrangement for electric gu Show More...
A familiar melody used to introduce some of the stylistic elements of playing classical music in a two part context. This arrangement for electric guitar and bass guitar has TAB Close
Added: 27th July, 2017 11:07 AM |
Views : 3494
An arrangement for electric and bass guitar of this minuet from the Anna Magdalena Notebook transcribed to the key of A minor and like most dance musi Show More...
An arrangement for electric and bass guitar of this minuet from the Anna Magdalena Notebook transcribed to the key of A minor and like most dance music from this era in AB or binary form. The movement has a haunting quality and like so much of the music from the collection it is a great study piece for students and can be played by a combination of different instruments. Keep the eighth notes (quavers) as even as possible and a tempo of around 116 quarter note (crotchet) beats to the minute is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 4006
This is a simplified and shortened version of one of J.S.Bach’s famous pieces based on a chorale (hymn) melody arranged for electric guitar and bass Show More...
This is a simplified and shortened version of one of J.S.Bach’s famous pieces based on a chorale (hymn) melody arranged for electric guitar and bass guitar with both notated and tab parts. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This essentially two part version has been notated in 8/8 time. The grouping of the 8/8 time signature is 3+3+2 which is a rhythmic template used in much popular music of the 1950’s and 1960’s. Electric guitar & bass guitar accompaniments are also in place sounding at 102, 106, 110, and 114 quarter note (or crotchet) beats to the minute.The arrangement provides very good opportunities to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. This score was upgraded in early 2026 with accompaniments added and instrument parts appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 4159
An arrangement for acoustic or electric guitar and electric bass with tab. This is music based on a chorale (hymn) tune that would have been familiar Show More...
An arrangement for acoustic or electric guitar and electric bass with tab. This is music based on a chorale (hymn) tune that would have been familiar to Bach's congregations. This is a shortened two part version of this movement familiarising players with its rhythmic figuration and bass line. The rhythmic shapes sound modern and not surprisingly the movement has been subject to being arranged by a number of contemporary performing groups in a variety of styles. Close
Added: 27th July, 2017 11:07 AM |
Views : 4075
J.S.Bach’s Invention 8 BWV 779 arranged for electric & bass guitar. One of the most popular of the two part inventions with scale runs and chord sha Show More...
J.S.Bach’s Invention 8 BWV 779 arranged for electric & bass guitar. One of the most popular of the two part inventions with scale runs and chord shapes to master. A sheet music score with both staff notation and TAB is available from the website. Accompaniments are also in place. This is an updated version of an earlier music score.
An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for guitarists to play to improve technique. There are some octave transpositions in the parts to keep to the range of the instruments. The guitar is an instrument where the same note can be played in different positions on the fretboard and whilst the TAB scores available maybe helpful in locating notes they do not provide the only solution. Acoustic instruments can be substituted for the electric.
The realisation plays back at a reasonable 84 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments.
Guitar players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Remember that music cannot be played quickly until it can be played slowly.
The electric guitar and bass guitar are both transposing instruments and sound an octave lower than written enabling the space between the contrapuntal lines to be retained. There are some octave transpositions in the parts to keep to each instrument’s range. Scores are available in both staff notation and TAB. The TAB scores are limited in that they are literal translations of the notated score and guitar players may well wish to review some of the note positions suggested in these scores.
Ornaments are not generally featured in this movement whilst the realisation plays back at 84 quarter note or crotchet beats to the minute. Accompaniments are in place allowing guitar and bass players to participate in ensemble activities as part of their practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 80, 84, 88, 92, 96, and for the very brave 100 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a two bar count in /click track for each of the accompaniment tracks.
Again it is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation.
The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format. Close
Added: 27th July, 2017 11:07 AM |
Views : 5315
A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on Show More...
A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. Arranged for electric guitar and electric bass with conventional notation and tab scores in place this particular this example shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The musical lines are of equal performance and technical difficulty and make it an ideal ensemble piece a guitar duo. Ornaments are in place and sound on the playback score. How they are to be played is shown on ossia staves in the music score. Accompaniments are in place sounding at 58, 60 and 62 half note or minim beats to the minute featuring both the electric guitar and bass guitar parts. Repeats are not played. Players have the choice of reading the music from the full score or the appended parts. The music originates from Bach’s Lute Suite BWV 996. An additional challenge is to play the movement in a swing style. Close
Added: 27th July, 2017 11:07 AM |
Views : 4100
J.S.Bach’s Invention 4 BWV 775 arr. electric guitar & bass guitar Both notated & TAB scores are available.
In the key of D minor this is an appeal Show More...
J.S.Bach’s Invention 4 BWV 775 arr. electric guitar & bass guitar Both notated & TAB scores are available.
In the key of D minor this is an appealing work featuring an opening motif or melodic shape that combines a scale shape with the interval of a falling diminished seventh.
The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute.
The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers.
The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written F natural but many alternate a F# with the E. The ornaments can always be omitted particularly in the early stages of learning the movement. If
In the video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. As the electric The TAB score
Accompaniments are in place allowing electric guitar & bass players to participate in an ensemble activity as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks.
This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement.
Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly!
The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual clarinet parts are also appended to the full scores available as a pdf download from the PlentyMusic website.
The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closley related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque.
They are excellent pieces for developing a sound and secure playing technique. This is a revision and update of a previous score posted on the website. The music score was revised in 2023.
B. Close
Added: 27th July, 2017 11:07 AM |
Views : 5296
Arranged for acoustic/electric guitar and electric bass with tab the playing needs to be even and balanced. This, like much of Bach's music, is a very Show More...
Arranged for acoustic/electric guitar and electric bass with tab the playing needs to be even and balanced. This, like much of Bach's music, is a very adaptable movement suited to being played by several different combinations of instruments. A tempo of around 54 quarter note (crotchet) beats to the bar is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 3826
J.S.Bach’s Invention 13 in the key of A minor is a movement with some quite delightful shapes to play particularly chord shapes including minor, maj Show More...
J.S.Bach’s Invention 13 in the key of A minor is a movement with some quite delightful shapes to play particularly chord shapes including minor, major, dominant 7th & diminished 7th also in their different positions (root, first & second inversion…) This is an excellent ensemble piece encouraging players to listen to each other. Acoustic instruments can be substituted for the electric ones.
The electric guitar and bass guitar are both transposing instruments and sound an octave lower than written enabling the space between the contrapuntal lines to be retained. There are some octave transpositions in the bass guitar part to keep to the instrument’s range. Scores are available in both staff notation and TAB. The guitar is an instrument where the same note can be played in different positions and on different strings. The TAB scores are a literal translations of the notated score and guitar players may well wish to review some of the note positions suggested in these scores.
Ornaments are not featured in this movement whilst the realisation plays back at 72 quarter note or crotchet beats to the minute. Accompaniments are in place allowing guitar and bass players to participate in ensemble activities as part of their practice routines. The guitar sounds on one side of the stereo channel and the bass on the other. The accompaniment tracks play back at 58, 60, 62, 64, 66, 68, 70 and 72 quarter note (crotchet) beats per minute. This reflects the fact that the invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a two bar count in /click track for each of the accompaniment tracks.
As in all the inventions it is a requirement to play accurate note values. Ends of phrases are deserving of particular attention.
Legato playing is suggested in the first instance although players can offer their own playing and performance approaches which in many ways is the invitation offered in this and many other Bach music collections. There is no perfectly correct way to play this music and there is the added challenge of being able to re-visit and play the music again.
Time spent listening to this work on streaming media will be invaluable to players wishing to understand the different approaches that players have when performing this movement.
The principle behind J.S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s Two Part Inventions as in most music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. As concentrated and concise movements the 15 Inventions played in an ensemble context present excellent challenges and there is simply not much other music that can better prepare players for this type of music activity.
An invention suited to being played by a wide range of instruments possibly with a combination of instruments belonging to different instrument families – a mix and match approach is invited.
The 2023 music score is a revision of the 2013 PlentyMusic score. Close
Added: 27th July, 2017 11:07 AM |
Views : 5274
Arranged for electric guitar and electric bass players may well want to add drums to make the arrangement more complete. The music has been transcribe Show More...
Arranged for electric guitar and electric bass players may well want to add drums to make the arrangement more complete. The music has been transcribed into the key of A minor. Close
Added: 27th July, 2017 11:07 AM |
Views : 3937
An arrangement for electric guitar and bass guitar of this characterful and lively march written in cut time. A tempo of 84 half note or minim beats i Show More...
An arrangement for electric guitar and bass guitar of this characterful and lively march written in cut time. A tempo of 84 half note or minim beats is used in the realisation and accompaniments are in place enabling both the electric guitarist and bassist to enjoy duet playing as part of practice routines. Ornaments are probably best omitted when learning the piece. Repeats are not in place in the accompaniments but if they are required please advise the PlentyMusic office. Both notated and TAB scores are in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3969
