Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s.The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for a brass quartet comprising trumpet Bb, French horn, trombone and tuba sounding in the key of Eb. The playback tempo is 84 quarter note beats to the minute and individual parts appropriately transposed are appended to the full score. There are accompaniments in place enabling each of the specified instruments to practice their parts in an ensemble context. Close
Added: 21st January, 2026 19:01 PM |
Views : 1636
This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable m Show More...
This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable melody. This is a genuine performance piece to be enjoyed by both instrumentalists and audiences alike. It is very evident that Jacques Offenbach had a real gift and sense of melody and fun in making music. Not necessarily favoured by the music critics of the time, much of his music has nevertheless remained in the repertoire. Nietzsche & Zola also commented on his operettas for those who want to discover more about the ambivalence of his status.
Wind Quintet players will need to pay attention to the range of articulations and dynamics needed in a performance.
Repeat signs are in place in the score whilst the realisation plays back at 120 quarter note (crotchet) beats in the introductory first section and 132 quarter (crotchet) note beats in the second. Accompaniments are also in place enabling flautists to enjoy an ensemble experience as part of their practice routines. There is a 4 bar click track at the beginning of each accompaniment sounding on the woodblock. There are additional clicks in the opening section to help the development of ensemble playing. Repeats are in place and should be played to maintain the symmetry and shape of the piece.
As unmistakenly music intended for dancing there is a regular phrase structure in the second section and repetition is a strong feature of the composing process. There is an opening 23 bar section marked Allegro succeeded by a faster section which has an A B C A A + Coda structure with a 2 bar link between sections B & C.
“Le Galop” is often referred to as the “Can-Can” and was first performed in 1858 causing a bit of a stir because of its risqué nature though more in the visual rather than musical sense. Le Galop is from Act 2 of Offenbach’s operetta “Orpheus in the Underworld.” The can-can dance become associated with the Parisian cabarets of the Moulin Rouge and Folies Bergère. The easily remembered tune became associated with the high kicking female can-can dancers of the day.
Jacques Offenbach (1819 – 1880) whilst German born is considered to be a French composer known for the lighter side of opera referred to as operetta. Many of his works are still staged and he was an important influence on later composers of the genre. In his early days he earned his living as a cellist & conductor before producing his first full length operetta “Orpheus in the Underworld” in 1858. His final work “The Tales of Hoffmann” was incomplete at the time of his death. Close
Added: 5th May, 2025 11:05 AM |
Views : 3136
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for wind quintet comprising flute, oboe, clarinet in Bb, French Show More...
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for wind quintet comprising flute, oboe, clarinet in Bb, French horn & bassoon. One of the most familiar pieces of the Spanish repertoire this arrangement from PlentyMusic is now available to download.
The PlentyMusic sheet music video and realisation plays back at a tempo of 108 quarter note beats per minute. The tempo in the arrangement is constant. Individual instrument parts are appended to the full sheet music score.
Accompaniments are in place featuring the oboe, clarinet in Bb, French horn & bassoon are available as mp3 downloads playing back at 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute.
There are many arrangements of this music available from the PlentyMusic sheet music library combining many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using professionally prepared resources.
The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge.
Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the elements of the Spanish idiom and style.
The second section has an appealing syncopated melody with some lightening of the musical texture.
The solo line played needs to be played with confidence and accuracy. It is also an excellent test as an ensemble piece requiring good communication between the players. The solo part is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach.
The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Martellato means strongly accented.
Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound.
This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed!
A great movement for both the player and the listener for its dramatic and musical qualities. The composition dates from 1923 and was recorded as early as 1926.
Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone). The cadences in Spanish music have a characteristic sound.
The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism.
The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. The conception of the dance is a re-imagining of the movements of the Spanish matador in the bull ring. Close
Added: 3rd April, 2025 13:04 PM |
Views : 3838
Joaquin Malats Serenata Española from his Impressions of Spain arr. brass sextet comprising 2 trumpets in Bb , French horn, trombone, bass trombone Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. brass sextet comprising 2 trumpets in Bb , French horn, trombone, bass trombone & tuba. Individual instrument parts are appended to the full sheet music score in the pdf download.
Use the signing up free credit facility to download the score and parts & possibly an accompaniment. Improve music reading and performing skills by using PlentyMusic pdf sheet music & mp3 accompaniment downloads.
A sunny piece that features many characteristics typical of Spanish music. Individual instrument parts are appended to the full score available as a pdf download.
If some instruments are missing in an intended performance a piano accompaniment can be readily added substituting parts.
Improve music practice routines with PlentyMusic accompaniments in place as mp3 downloads enabling the trumpet in Bb 1 player to practice and play as part of an ensemble. They play at 104, 108, 112, 116 & 120 bpm. There is a 2 bar click track to prepare players for this ensemble experience. Learn how easy it is to download PlentyMusic pdf & mp3 files from our website and make use of the user dashboard.
In this arrangement the long trill trumpet in Bb 1 part has been omitted
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. In the arrangement six parts have been created from the originally intended five.
animando used in the score implies an increase in tempo and has been placed above the stave as a score marking
The music in this sounds in the key of G minor.
The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata.
This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in composition. The music of composers from countries on the fringes of Europe started to appear in concert programmes.
In this movement many of characteristic musical sounds of Spain are captured in a score that suggests many images of the country. There is also much figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail.
This movement music was composed and published in the last decade of the 19th century.
There were some ambiguities in the source scores available to the music editor who has spent time hopefullyremoving errors and inconsistencies.
It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone)
Modal shifts from minor to major also feature
The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases.
Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A)
Spanish music is often dramatic and on occasions invites exaggeration in performance.
The extensive melodic range is a particular characteristic of this movement and instrument ranges are often challenging. Close
Added: 15th February, 2025 11:02 AM |
Views : 3742
Improve music practice routines playing Invention 2 BWV 773 arranged for French horn duo & sounding in the original key of C minor. The Bach Invention Show More...
Improve music practice routines playing Invention 2 BWV 773 arranged for French horn duo & sounding in the original key of C minor. The Bach Inventions as duos offer excellent music practice and performance opportunities.
This is a melodic and quite contemplative two part invention and whilst ornaments are indicated in the score they do not sound in the realisation. A movement that needs to be played with feeling and sensitivity. The full score appropriately transposed has individual horn parts appended to the full score. The French horn 1 part is an octave lower than in the original piano version. The realisation plays back at 52 bpm
The pdf sheet music download and play-a-long mp3 accompaniments are available to download from PlentyMusic. Playing the Bach Inventions as part of a duo encourages good intonation, that is, playing in tune, in duet playing. Legato playing is required when performing this invention in what is a slow tempo and melancholy movement. This is music that requires both method and determination in the way that it is approached. There are some octave transpositions in the second horn part in the closing section to keep to the instrument’s range.
Bach composed much music as a teacher with the performing and teaching context often relating to his own children. Four of his sons became important composers relevant in music history because they link the baroque era with the classical.
The inventions offer excellent opportunities to instrumentalists to improve their ensemble playing skill set and develop an understanding of baroque compositional processes. The inventions are uncompromising in the demands they place on performers requiring accuracy technique and concentrated listening.
Accompaniments are in place allowing French horn players to participate in play-a-long ensemble activities as part of music practice routines. French horn 1 sounds on one side of the stereo channel and the French horn 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 58 & 60 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. Accompaniments are available with and without ornaments in place.
In the keyboard video score, which clarinettists may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation representing exactly what is being played.
Understand that ornaments can be interpreted differently and that performance practice is both an evolving and often reviewed subject. The music editor has avoided ornaments sounding in different voices at the same time.
How ornaments are played at cadences in particular is a fascinating subject in the baroque era. Improvised and often complex cadential phrases are an aspect of performance that feature in performances.
The best advice is to listen to the performances and learn to discriminate as a performer between good practice and not so good practice.
The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. Levels when they are played on different instruments may be different.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system established in Bach’s own time. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution and other processes are evident in Bach’s inventions as in most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent ensemble movements. Close
Added: 31st March, 2024 17:03 PM |
Views : 2203
Invention 9 BWV 780 arranged for 2 horns in F familiarly referred to as French horns though the instrument’s origins are in Germany. The Invention s Show More...
Invention 9 BWV 780 arranged for 2 horns in F familiarly referred to as French horns though the instrument’s origins are in Germany. The Invention sounds in the key of F minor although accidentals are in place in the notation, not key signatures, as is the convention when arranging music for this instrument. It is a challenging invention to play particularly from the note reading and voice leading point of view. There are many accidentals to read and it is easy to make music reading errors.
There are some octave transpositions in the two voices although this remains an excellent movement to encourage good intonation (playing in tune) in duet playing.
A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. Playing the F minor scale in both its melodic and harmonic form would be good preparation for playing this movement.
In the sheet music score the ornaments are indicated but do not sound.
The realisation plays back at 56 quarter note or crotchet beats per minute.
Accompaniments are in place allowing horn players to participate in ensemble activities as part of practice routines. French horn 1 sounds on one side of the stereo channel and French horn 2 on the other. The accompaniment tracks play back at 50, 52, 54, 56, 58, 60 & 62 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks.
In the keyboard video score, which trombonists may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played.
The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent ensemble movements. Close
Added: 18th March, 2024 20:03 PM |
Views : 2425
J.S. Bach’s Invention 14 BWV 785 arranged for French horn duo sounding in the key of F. This is a challenging rhythmical work and a movement in whic Show More...
J.S. Bach’s Invention 14 BWV 785 arranged for French horn duo sounding in the key of F. This is a challenging rhythmical work and a movement in which figuration is a substitute for ornamentation. It is an excellent movement to improve ensemble playing and intonation requiring brass players to really listen to each other.
Players need to have a vision and understanding of the phrasing needed before playing this movement.
Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score.
The realisation plays back at 54 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 French horn players to participate in ensemble activities as part of practice routines. French horn 1 sounds on one side of the stereo channel and French horn 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 59 and 61 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks.
There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media.
The Bach Inventions are generally intermediate level movements when played on a keyboard instrument.
The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, rhythmic, augmentation, and 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: 8th December, 2023 11:12 AM |
Views : 2566
Lullaby or Cradle Song by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for French horn with pian Show More...
Lullaby or Cradle Song by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for French horn with piano accompaniment the sounding key is F and the PlentyMusic realisation plays back at 80 quarter note (crotchet) beats to the minute.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time in music history.
As a song intended to be sung by different voices the music is usually transposed to a key most appropriate for the voice or in this case instrument. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soloist to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience
Re-invention is an important aspect of music making and PlentyMusic would be keen and willing to both listen and publish work in this category. Close
Added: 1st March, 2023 13:03 PM |
Views : 2437
Bach J.S. Sinfonia 11 BWV 797 arranged for French horn playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent mo Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for French horn playing the middle voice and piano. 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 French horn player the opportunity of playing in an ensemble.
In this arrangement the French horn contributes with voice 2 whilst the pianist plays voices 1 and 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. A French horn part appropriately transposed is appended to the full music score that can be downloaded from the PlentyMusic website.
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.
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 diminuendos 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: 6th January, 2023 11:01 AM |
Views : 1959
Bach J.S. Sinfonia 11 BWV 797 arranged for brass trio of trumpet in Bb, French horn & bass trombone The Sinfonia arrangements from PlentyMusic are exc Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for brass trio of trumpet in Bb, French horn & bass trombone The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines.
The Sinfonia 11 in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration.
Brass accompaniments, featuring the French horn and bass trombone, 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 trumpet in B flat player the opportunity of playing in an ensemble. In this arrangement the trumpet in Bb plays voice 1, the French horn voice 2 and the bass trombone voice 3. The brass trio realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. Appropriately transposed instrument parts are appended to the full music score.
Please advise the PlentyMusic office should you require any additional arrangements and accompaniments with a specification as to the instrumentation and tempo.
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. Brass players should be aiming for a legato in their playing.
This 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 feature 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 with a clarity and intention.
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. A guiding principle is that the any ornaments introduced should be imitated in the other voices.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord. The organ which is also a keyboard instrument 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 this particular sinfonia
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate 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 17:01 PM |
Views : 4514
F.J. Gossec’s Tambourin arranged for brass quintet. Improve music practice routines by downloading sheet music and piano accompaniments from Plenty Show More...
F.J. Gossec’s Tambourin arranged for brass quintet. Improve music practice routines by downloading sheet music and piano accompaniments from PlentyMusic.
A short but very appealing movement ideal as an encore for a well prepared brass group. The arrangement is scored for 2 trumpets in Bb, French horn, trombone and tuba. A bass trombone can be used as a substitute for the tuba.
The dance element is particular strong in French music and this is a dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 112 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at a brisk tempo.
There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals.
A performance piece to challenge solo players to step up to advanced level standards although rhythmical and articulation aspects can be micro-managed in presenting the movement for performance to an audience
There are some rhythmic options that can be explored in the trumpet in Bb 1 part in the section 51-57. The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semi quavers and demisemiquavers!)
Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch.
Individual parts for the 5 instruments are appended to the full score.
Accompaniments / backing tracks are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute giving the trumpet in Bb 1 the opportunity to practice in context.
?
Gossec was a French composer and pupil of Rameau although little known outside France
He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in
Paris.
France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
Added: 14th November, 2022 15:11 PM |
Views : 5697
F.J. Gossec’s Tambourin arranged for wind quintet. Improve music practice routines by downloading sheet music and accompaniments from PlentyMusic. Show More...
F.J. Gossec’s Tambourin arranged for wind quintet. Improve music practice routines by downloading sheet music and accompaniments from PlentyMusic.
A short but very appealing movement ideal as an encore for the competent soloist well warmed up and prepared to engage with the challenges of presenting a concert piece. The arrangement is scored for flute, oboe, clarinet in Bb, horn in F (French horn) and bassoon.
The dance element is particular strong in French music and this is a dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 112 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at a brisk tempo.
There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals.
A performance piece to challenge solo players to step up to advanced level standards although rhythmical and articulation aspects can be micro-managed in presenting the movement for performance to an audience
There are some rhythmic options that can be explored in the clarinet in Bb 1 part in the section 51- 57. The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semi quavers and demisemiquavers!)
Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch.
Individual parts for the 5 instruments are appended to the full score in the pdf download.
Accompaniments / backing tracks are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute giving the flute player the opportunity to practice in context.
Gossec was a French composer and pupil of Rameau although little known outside France
He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris.
France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
Added: 14th November, 2022 13:11 PM |
Views : 6602
An intermediate level arrangement for brass quintet of a movement from a Mendelssohn organ sonata. The score is available as pdf download from PlentyM Show More...
An intermediate level arrangement for brass quintet of a movement from a Mendelssohn organ sonata. The score is available as pdf download from PlentyMusic. mp3 accompaniments are also available. Scored for 2 trumpets in Bb, French horn (horn in F), trombone and tuba or bass trombone. Individual parts for instrumentalists are appended to the full score available as a pdf download from PlentyMusic. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially a chorale or hymn much in keeping with the chorale of J. S. Bach although Mendelssohn’s harmonic language is chromatic rather than diatonic. There is opportunity to slow down and pause at the ends of phrases although there is only one such marking in the sheet music score. There are some octave transpositions in the flute and oboe parts. Playing chorale arrangements like this are excellent for developing ensemble playing and good intonation. A generally quiet movement, clarinet players should be aiming for a legato in their playing. The video score/ realisation plays back at 72 quarter note beats to the minute. mp3 accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute enabling flute players to participate in ensemble activities as part of their practice routines. Should there be a requirement to substitute an additional brass instrument please advise the PlentyMusic office. Mendelssohn was an extremely popular composer in England. Described as a romantic composer he leans more to the classical line of the tradition along with composers Schubert (1797 – 1828) Chopin (1810 – 1849) and Brahms (1833- 1897) rather than the more radical represented by Berlioz (1803 – 1869), Liszt (1811 – 1886), and Wagner (1813-1883). Schumann (1810 - 1856) is the composer who interestingly links the two threads. Close
Added: 26th April, 2022 14:04 PM |
Views : 6247
An intermediate level arrangement for wind quintet of a movement from a Mendelssohn organ sonata. Scored for flute, oboe, clarinet in A, French horn ( Show More...
An intermediate level arrangement for wind quintet of a movement from a Mendelssohn organ sonata. Scored for flute, oboe, clarinet in A, French horn (horn in F) and bassoon, individual parts for instrumentalists are appended to the full score available as a pdf download from PlentyMusic. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially a chorale or hymn much in keeping with the chorale of J. S. Bach although Mendelssohn’s harmonic language is chromatic rather than diatonic. There is opportunity to slow down and pause at the ends of phrases although there is only one such marking in the sheet music score. There are some octave transpositions in the flute and oboe parts. Playing chorale arrangements like this are excellent for developing ensemble playing and good intonation. A generally quiet movement, woodwind players should be aiming for a legato in their playing. The video realisation plays back at 76 quarter note (crotchet) beats to the minute. mp3 accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute enabling flute players to participate in ensemble activities as part of their practice routines. Mendelssohn was an extremely popular composer in England. Described as a romantic composer he leans more to the classical line of the tradition along with composers Schubert (1797 – 1828) Chopin (1810 – 1849) and Brahms (1833- 1897) rather than the more radical represented by Berlioz (1803 – 1869), Liszt (1811 – 1886), and Wagner (1813-1883). Schumann (1810 - 1856) is the composer who interestingly links the two threads. Close
Added: 25th April, 2022 11:04 AM |
Views : 6104
This arrangement for brass quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for trumpet in Bb, French horn (horn in F) tromb Show More...
This arrangement for brass quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for trumpet in Bb, French horn (horn in F) trombone and bass trombone or tuba. Instrumental parts for individual instruments are appended to the full score. Accompaniments are also available enabling each of the brass players to practice in context with a minus one approach. There is a one bar eighth note (quaver) click track before the instruments start to sound. The accompaniments play back at 8 84 and 88 eighth (quaver) notes to the minute. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is actually very untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Brass players should play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts. The small ornamental notes in the score frequently do not sound in realisations and are best omitted whilst the movement is first being studied. Cantilena is an Italian/Latin word suggesting both lullaby and song. A movement that is intended to be played quietly in a sustained approach. The melody and inner parts needs to be played with a legato whilst the bass line is played with a detached or staccato touch. This is an excellent movement for developing good intonation in ensemble playing. The melody explores several rhythmic motifs often featuring tied notes. Much of the writing features off-beat rhythms related to the resolving of the dissonances in the inner parts. The influence of the Bach 4 part chorale harmonisation is paramount together with the chromatic harmony that can be readily identified in the music of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniment. Close
Added: 29th March, 2022 15:03 PM |
Views : 6242
This intermediate level arrangement from PlentyMusic for brass trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Gia Show More...
This intermediate level arrangement from PlentyMusic for brass trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini is scored for trumpet in Bb, French horn and bass trombone. Giardini’s string trio’s music are beautifully crafted works and need to be re-discovered and played. The tempo marking in the sheet music score is Adagio whilst the realisation of the score plays back at 44 dotted quarter (crotchet) notes to the minute. The chromatic element is a feature in the writing. Accompaniments are available for the trumpet in Bb playing at 42, 44, 46 and 48 dotted quarter (crotchet) note beats to the minute. If additional accompaniments are required French horn and bass trombone practice please advise the PlentyMusic Office. Trills begin on the note and have been notated in full in the video score. This area of performance practice is one that encourages debate and if instrumentalists have an alternative and the music editor is aware of at least one please do advise the PlentyMusic Office with an mp3 recording of a performance or rehearsal or even a sheet music version. The siciliana, siciliano or sicilienne is a slow dance with a lilting rhythm in three time which can be described as a slow jig and features quite strongly in baroque music and in many works since. Such music is often in the minor key, pastoral in character with dotted rhythms frequently prevailing. Its origins are possibly Sicilian because of its association with the Sicilian born Alessandro Scarlatti but more likely to the madrigals of the Italian renaissance. Giardini’s music is familiar to those who sing hymns as the tune Moscow was composed by him. Giardini 1716 – 1796 Italian by birth, was a violinist and composer, who toured widely in Europe settling in England and becoming an orchestra leader of the Italian Opera in London and director of the orchestra at the London Pantheon. He worked closely with his friend and colleague J. C. Bach, familiarly referred to as the the London Bach. For a 15 year period from the mid 1750’s Giardini was considered to be one of the very best performing artists of his time. As a composer his chamber music, particularly his string trios, are best known and his compositional style combines style galant with the classicism of J. C. Bach and the Mannheim school associated with Stamitz. This so called pre-classical period in music is a fascinating period to study because of the great diversity in music across the main music centes of Europe. After leaving England in 1784 for Naples his career faltered due mainly to changes in secure financial circumstances. Close
Added: 11th March, 2022 14:03 PM |
Views : 5430
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for brass quartet comprising 2 trum Show More...
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for brass quartet comprising 2 trumpets in B flat, French horn and trombone. Instrument parts are attached to the full score which is available from PlentyMusic as a pdf download. If circumstances arise then there the music could be performed by a brass ensemble with each part played by more than one instrument. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. Those who enjoy improvising can always record their work can send it as an mp3 to the PlentyMusic office for feedback. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score which is available to view on the PlentyMusic YouTube channel. This is music that is very appropriate music for a solemn processional in a social context context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor observes that instrumental arrangements of a vocal piece are invariably played at a faster tempo. This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close
Added: 30th December, 2021 09:12 AM |
Views : 5141
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for French horn and piano Gounod’s melody is played on the French horn pla Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for French horn and piano Gounod’s melody is played on the French horn player while the Bach Prelude No.1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close
Added: 15th December, 2021 12:12 PM |
Views : 2800
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...
Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for French horn (horn in F) and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung, particularly for weddings, nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the sheet music score score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling horn players to enjoy an ensemble experience as part of their daily practice routine. They play at 32, 36, and 40 quarter (crotchet) beats to the minute and are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat. Close
Added: 15th November, 2021 09:11 AM |
Views : 3814
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for horn in F (French horn) and piano enables players t Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for horn in F (French horn) and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for horn in F (French horn) accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 80 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to A minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close
Added: 8th October, 2021 08:10 AM |
Views : 2649
The Minuet and Trio in Eb by Franz Schubert is an excellent performance piece and this is an arrangement for brass quartet of 2 trumpets in Bb, French Show More...
The Minuet and Trio in Eb by Franz Schubert is an excellent performance piece and this is an arrangement for brass quartet of 2 trumpets in Bb, French horn and trombone. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. Individual instrument parts are appended to the full score which can be downloaded as pdf file from the PlentyMusic website. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the chamber music scores is 116 quarter note beats to the bar whilst both the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. The movement was originally a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small ornamental notes in bar 41 do not sound in the realisation and possibly are best not added until the movement can be played competently. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Should any changes, re-scoring or arrangements for another instrument grouping be needed please contact the PlentyMusic Office and the music editor will respond to the request. PlentyMusic. Close
Added: 3rd August, 2021 18:08 PM |
Views : 4925
The brass quintet arrangement of the Minuet is available from PlentyMusic as a free score. The full score has appended parts and is available as a pdf Show More...
The brass quintet arrangement of the Minuet is available from PlentyMusic as a free score. The full score has appended parts and is available as a pdf download. Using the PlentyMusic android app the music could be printed from a smart phone. The brass quintet arrangement is scored for 2 trumpets in Bb, French horn, 2 trombone and tuba. Individual instrument parts transposed where appropriate are appended to the full score in the pdf download. The Minuet and Trio is performed without the repeats in the Minuet sounding. A quiet enchanting movement that demonstrates how much that Franz Schubert was a chamber musician. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver musically and accurately. It is an excellent movement for developing an understanding of a musical texture in the romantic era. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. Another challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. If you would like the movement to be scored for any other instruments please advise the PlentyMusic Office and one of the team will explore the possibilities. PlentyMusic would be interested in hearing and seeing any performances of this movement either in mp3 or mp4 format. Close
Added: 4th July, 2021 17:07 PM |
Views : 6275
The wind quintet arrangement of the Minuet for flute, oboe, clarinet in A, French horn and bassoon is available from PlentyMusic as a free score. The Show More...
The wind quintet arrangement of the Minuet for flute, oboe, clarinet in A, French horn and bassoon is available from PlentyMusic as a free score. The full score has appended parts and is available as a one file pdf download. Using the PlentyMusic android app the music could be printed from a smart phone. Schubert’s Minuet D.334 is a hidden gem of the music repertoire that needs to played and become known by instrument players and audiences. If PlentyMusic users would like the movement to be score for any additional instruments please advise the PlentyMusic Office and one of the team will respond. The Minuet and Trio is performed without the repeats in the Minuet sounding in the video score. A quiet enchanting movement that adds evidence to the suggestion that Franz Schubert was essentially a chamber musician. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver musically and accurately. Whilst a solo work for piano it is very evident that the musical conception could quite easily be for a group of musicians. It is an excellent movement for developing an understanding of a musical texture in the romantic era. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. Another challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Individual instrument parts transposed where appropriate are appended to the full score in the pdf download. Close
Added: 4th July, 2021 13:07 PM |
Views : 6204
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...
Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for horn in F (French horn) accompanied by the piano the sounding key is F. Horn in F (French horn) players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not a featured of the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t as well represented in the realization as it might be. A horn in F (French horn) part appropriately transposed is appended to the full score.
Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close
Added: 4th March, 2020 08:03 AM |
Views : 4083
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a horn in F (French horn) part appropriately transposed is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 18:12 PM |
Views : 3050
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...
A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for horn in F (French horn) accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A horn in F (French horn) appropriately transposed is appended to the full score. Two accompaniments are available (1) with repeats and (2) without repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 12:12 PM |
Views : 3308
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...
The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections.
Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for horn in F (French horn) with piano accompaniment sounds in the key of G. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A horn in F (French horn) appropriately transposed is appended to the full score. Close
Added: 30th October, 2019 11:10 AM |
Views : 3528
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...
Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in F is for a Horn in F (French horn) accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a horn in F (French horn) part appropriately transposed is appended to the full score. Close
Added: 19th September, 2019 10:09 AM |
Views : 3806
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The word barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for horn in F with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A horn in F part appropriately transposed is appended to the full score. Close
Added: 29th August, 2019 20:08 PM |
Views : 3550
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...
Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 56 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A horn in F (French horn) part appropriately transposed is appended to the full score. Close
Added: 12th August, 2019 14:08 PM |
Views : 3995
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Show More...
This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accompaniment as a concert item. The melody is quite evocative and needs to be played with sensitivity and an awareness of phrasing. There are many melodic variants as often is the case with folk music. Players need to aim for a beautiful legato and may wish to omit the small ornamental notes. A horn in F (French horn) appropriately transposed is appended to the full score. A piano accompaniment is also available for this arrangement. Close
Added: 24th July, 2019 14:07 PM |
Views : 3520
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...
This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a duo to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realisation is 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A horn in F (French horn) part is appended to the full music score and there is an alternative ending on the ossia stave. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 09:04 AM |
Views : 3505
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Show More...
This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. It has been transposed down a tone from the original version. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. The realisation lacks a little rhythmic flexibility at the ends of phrases in the rubato sections and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal although this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composers own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A horn in F part (French horn) appropriately transposed is appended to the music score. Close
Added: 29th March, 2019 12:03 PM |
Views : 3406
This is an arrangement for brass quintet comprising two trumpets in Bb, horn in F (French horn), trombone and tuba of Tchaikovsky’s Neapolitan Dance Show More...
This is an arrangement for brass quintet comprising two trumpets in Bb, horn in F (French horn), trombone and tuba of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the trumpet part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the players and has been well rehearsed. Individual parts for each of the instruments are appended to the full score. Accompaniments are in place using the minus one instrument approach. Close
Added: 15th March, 2019 10:03 AM |
Views : 7009
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...
Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 80 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. A horn in F (French horn) part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 16:01 PM |
Views : 4043
In this arrangement for brass quartet the specified instruments are trumpet in Bb, horn in F (French horn), trombone and tuba. The score is formatted Show More...
In this arrangement for brass quartet the specified instruments are trumpet in Bb, horn in F (French horn), trombone and tuba. The score is formatted as a one document pdf file with individual parts appropriately transposed for the brass instruments appended to the full score. Note that horn in F part does not make use of a key signature in the appended part.Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D it plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly. If any re-scoring needs or changes to the instrumentation please advise the PlentyMusic office. Close
Added: 27th January, 2019 08:01 AM |
Views : 7285
This is a very popular piece of music that in many respects transcends idiom, style and it could be suggested culture. This improver level arrangement Show More...
This is a very popular piece of music that in many respects transcends idiom, style and it could be suggested culture. This improver level arrangement for brass quartet of trumpet, horn in f, trombone & euphonium or tuba is in common time while some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary style. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. This arrangement explores a gentle rock style whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar. Accompaniments are in place enabling each of the instruments to practice as part of the ensemble. Close
Added: 5th December, 2018 21:12 PM |
Views : 6364
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Show More...
This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for horn in F (French horn) and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A horn in F part appropriately transposed is appended to the full score. Close
Added: 5th December, 2018 18:12 PM |
Views : 3439
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Princ Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The repeat is optional and a horn in F (French horn) part is appended to the full score. There are three piano accompaniments available at tempi of (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 8th November, 2018 11:11 AM |
Views : 3957
An arrangement for horn in f (French horn) and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half not Show More...
An arrangement for horn in f (French horn) and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A horn in F part appropriately transposed is appended to the full score. The three accompaniment options have tempi of 1) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel. Close
Added: 24th October, 2018 17:10 PM |
Views : 3837
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Show More...
Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A horn in F (French horn) part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close
Added: 2nd October, 2018 12:10 PM |
Views : 3720
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 84 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A horn part appropriately transposed is appended to the full score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 09:06 AM |
Views : 4006
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...
Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A horn in F part appropriately transposed is appended to the full score. The music editor is interested in hearing from horn in F (French horn) players as to other keys options for this piece because available recordings suggest that there is more than one option. There are four accompaniments available without a click track as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. Close
Added: 1st June, 2018 17:06 PM |
Views : 3920
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Show More...
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same relevance with modern instruments and particularly the piano. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be much longer whilst the small notes do not sound. The editor suggests listening to many of the excellent performances of this work. An appropriately transposed horn in F (French horn) part is appended to the full score. Piano accompaniments are available at tempi of (1) 63 (2) 60 (3) 58 quarter note (crotchet) beats to the minute. If an accompaniment is required with a click track in place for the cadenza section in bars 32 – 33 please advise the PlentyMusic office. Close
Added: 15th December, 2017 18:12 PM |
Views : 3531
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the strong melodic element in this miniature explores in its original version quite a melodic range although there are some octave transpositions in this arrangement for French horn and piano. A tempo of 58 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. A horn in F (French horn) part appropriately transposed is appended to the full score. Close
Added: 15th December, 2017 17:12 PM |
Views : 3160
The arrangement is scored for flute, oboe, clarinet in A, horn in F (French horn) and bassoon and uses the first theme from the third movement of Boro Show More...
The arrangement is scored for flute, oboe, clarinet in A, horn in F (French horn) and bassoon and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dating from 1881 the movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts whilst the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work has been incorporated into the arrangement. Individual parts appropriately transposed are appended to a copy of the full score. Close
Added: 2nd September, 2017 08:09 AM |
Views : 8994
The arrangement is scored for two trumpets, horn in F (French Horn), trombone and bass trombone and uses the first theme from the third movement of Bo Show More...
The arrangement is scored for two trumpets, horn in F (French Horn), trombone and bass trombone and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dating from 1881 the movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts whilst the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible the material from the original work has been incorporated into the arrangement. The realisation at times is rather ambient. Individual parts are appended to a copy of the full score. Accompaniments are in place in which one of the brass instruments omitted in what can be described as a minus one approach. Close
Added: 2nd September, 2017 07:09 AM |
Views : 6501
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Show More...
This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option whilst the crushed notes do not sound in the realisation. This is an excellent piece to explore playing at a slow tempo. I would suggest listening to a number of recordings of performances particularly by singers to gain an understanding of how this music can be performed. A horn in F part is appended to the full score and as is the convention key signatures have not been used in the solo horn part and all accidentals to be played are marked in the score. Piano accompaniments are available playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute. Close
Added: 12th August, 2017 19:08 PM |
Views : 3737
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for horn in F (French horn) accompanied by piano, the temp Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for horn in F (French horn) accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download with the horn in F part appropriately transposed. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close
Added: 27th July, 2017 11:07 AM |
Views : 3767
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tem Show More...
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for horn in F aka French horn accompanied by the piano. The solo horn part is appended to the piano score. Accompaniments are in place playing at 108, 110 and 112 quarter note (crotchet) beats to the minute. There is a two bar count in sounding on the woodblocks. Close
Added: 27th July, 2017 11:07 AM |
Views : 3440
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for French horn and piano in the key of C whilst the Show More...
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for French horn and piano in the key of C whilst the PlentyMusic sheet music realisation plays back at 90 quarter note (crotchet) beats to the minute. Improve music practice strategies 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 with a piano accompaniment that needs to imitate the pizzicato sound of the strings. 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 a French horn part is appended to the full score available as a pdf download from the 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 French horn player with the opportunity to practice in an ensemble context and play as part of a duet. 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. There is quiet an amount of playing for the oboist and please advise the PlentyMusic office if there is the suggestion that there should be more sharing of the melodic material with the piano.
The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. In the video score all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) which are probably best omitted in the early stages of playing the movement.
This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly 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. This score was updated in 2023. Close
Added: 27th July, 2017 11:07 AM |
Views : 3750
This is a three part arrangement for a brass trio comprising trumpet in Bb , horn in F (French horn) and tuba of this familiar piece from the string Show More...
This is a three part arrangement for a brass trio comprising trumpet in Bb , horn in F (French horn) and tuba of this familiar piece from the string quartet repertoire. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The music in the movement does sound easy to play although there are challenges in playing music of this era well and musically. In performance, the articulation of the notes needs to be consistent - the melody is to be played legato and the accompaniment staccato or at least in a detached manner. A tempo of 100 quarter note (crotchet) beats to the bar is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 5562
An arrangement for horn in F (French horn) and trombone of this piece intended to introduce players to the musical elements that feature in ragtime. T Show More...
An arrangement for horn in F (French horn) and trombone of this piece intended to introduce players to the musical elements that feature in ragtime. The horn in F plays the melody whilst the trombone plays the accompanying bass line. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. Players could quite easily repeat the the 8 bars. Close
Added: 27th July, 2017 11:07 AM |
Views : 4417
An arrangement for horn in F (French horn) with a piano accompaniment of this attractive melodic piece which was composed and published in 1888. The s Show More...
An arrangement for horn in F (French horn) with a piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo horn part is also appended to the score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 3377
An arrangement for horn in F (French horn) and tuba of this minuet from the Anna Magdalena Notebook sounding in the key of G minor and like most danc Show More...
An arrangement for horn in F (French horn) and tuba of this minuet from the Anna Magdalena Notebook sounding in the key of G minor and like most dance music from this era in AB or binary form. The movement has a haunting quality and is often performed with the Minuet in G BWV App.114. Like so much of the music from the collection it is a great study piece for music 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. The horn in F part has been appropriately transposed to sound in the key of G minor. Close
Added: 27th July, 2017 11:07 AM |
Views : 4280
An arrangement for the unusual combination of horn in F (French horn) and bassoon of this characterful and rhythmic piece in binary(AB) form in the ke Show More...
An arrangement for the unusual combination of horn in F (French horn) and bassoon of this characterful and rhythmic piece in binary(AB) form in the key of G minor. The polonaise is a dance in three time of Polish origin template and the rhythmic motives featuring in this particlar example are very typical. A tempo of 110 quarter note (crotchet) beats to the minute is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 3602
