A very poignant setting by J.S.Bach of a hymn melody that dates from the 16th century. It’s melancholy mood makes it most appropriate for an occasio Show More...
A very poignant setting by J.S.Bach of a hymn melody that dates from the 16th century. It’s melancholy mood makes it most appropriate for an occasion that is related to remembrance and reflection. The choice of instruments in his arrangement make it an opportunity to give the music a contemporary context. The lyrics for the hymn reference both prayer and times of trouble and can be researched separately as an additional interest and study.
In this arrangement the music has been transposed from the original key of F minor to G minor. Individual instrument parts are appended to the full score. TAB scores are also in place in the appended electric and bass guitar parts.
This arrangement for soprano saxophone, electric and bass guitar explores the three part texture as Bach intended. Bach does have wonderful qualities as a composer in expressing all types of human expression and mood. Much of the basis for Bach’s composing related to his work as a church Director of Music supplying music for the church calendar including organ music, cantatas and oratorios. Much organ music was composed based on chorale or hymn tunes and these are often titled chorale preludes and usually played to fill gaps in a service.
This is music that is in a slow tempo with the realisation playing back at 44 quarter note or crotchet beats to the minute. Accompaniments are in place
The melodic line in performance invites ornamentation and decoration and this is an aspect that can be explored by the player although additions need to be in keeping with the style. The present arrangement presents the melodic line in a very straightforward manner with minimal ornamentation in place that has been notated in the sheet music score. The best advice is to listen to performances of this piece by the best artists that you can find and then imitate, in the first place what they do.
The guitar is an instrument where the same note can be played on different strings in different positions on the fretboard and players many well want to review the suggestions made in the TAB scores in the appended electric and bass guitar scores
Although intended to be played on the organ this movement like much of Bach’s music is always open to being re-discovered stylistically and played in different contexts.
Accompaniments are in place playing at 42, 44, 46 and 48 quarter note or crotchet beats to the minute although the music is best played with an awareness of an eighth note or quaver beat.
Playing music both slowly and very slowly is always a challenge in performance. The advice is to play the movement with an awareness of the eight note or quaver pulse. Close
Added: 7th March, 2026 10:03 AM |
Views : 368
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for saxophone trio of soprano, alto and tenor saxophones.
The realisation playback at 58 dotted quar Show More...
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for saxophone trio of soprano, alto and tenor saxophones.
The realisation playback at 58 dotted quarter note or crotchet beats to the minute.
In this version ornaments have been omitted.
Playing the a minor scale in all its forms natural, harmonic and melodic would be excellent preparation for playing this sinfonia.
The voice leading in this sinfonia is not altogether straightforward and players will need to pay attention to the accidentals in the score possibly adding reminders if required. Conflicting accidentals often appear in different voices in the same bar.
A sinfonia that features arpeggios and scale runs with the rhythmic shapes in the lines having a strong repetitive element. The note values given in Bach’s Sinfonias often give an indication of intended articulations that are intended. Players should be aiming for a singing legato in their playing.
The movement needs to be played, in the first instance, with an awareness of the patterns of 3 in the 12/8 time signature. (4 x 3 to the bar).
Accompaniments are in place playing at 56, 58, 60, 62 & 64 dotted quarter note (crotchet) beats per minute (bpm). They feature the alto and tenor saxophones sounding voices 2 & 3 of Bach’s composition. There is a one bar click track sounding on the woodblock as an introduction.
Rests have been indicated in the voices as they are in the keyboard version of the works
Some of the rhythmic notation particularly with regards to the use of rests is ambiguous. Logic and rules do not universally apply. What tends to be in place is what is good for the eye.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills, good intonation , ensemble playing and particularly exploring the ranges of instruments.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with Bach’s contrapuntal writing namely: repetition, inversion, imitation, augmentation, diminution, stretto. In these works the closely related keys of the dominant, sub-dominant, relative minor are explored
The movement should not be played too quickly. The music editor’s advice is that players need to be clear in their intention as far as the articulation of the lines and the dynamics. Whilst a movement that needs to be played with control there also needs to be a lightness of intention in the playing approach.
Baroque scores generally have minimal score detail in place. The movement end with a major chord in what is referred to as a Picardy third.
PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close
Added: 3rd July, 2025 14:07 PM |
Views : 2402
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for saxophone quintet comprising soprano, alto, 2 tenor & bar Show More...
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for saxophone quintet comprising soprano, alto, 2 tenor & baritone saxophones. One of the most familiar pieces of the Spanish repertoire this arrangement from PlentyMusic is now available to download.
The PlentyMusic sheet music video and realisation plays back at a tempo of 108 quarter note beats per minute. The tempo in the arrangement is constant. Individual instrument parts are appended to the full sheet music score.
Accompaniments are in place featuring the saxophone quintet minus the soprano saxophone & are available as mp3 downloads playing back at 100, 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute.
There are many arrangements of this music available from the PlentyMusic sheet music library combining many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using professionally engraved resources.
The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge.
Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the elements of the Spanish idiom and style.
The second section has an appealing syncopated melody with some lightening of the musical texture.
The solo line played needs to be played with confidence and accuracy. It is also an excellent test as an ensemble piece requiring good communication between the players. The solo part is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach.
The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Martellato means strongly accented.
Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound.
This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed!
A great movement for both the player and the listener for its dramatic and musical qualities. The composition dates from 1923 and was recorded as early as 1926.
Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone). The cadences in Spanish music have a characteristic sound.
The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism.
The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. The conception of the dance is a re-imagining of the movements of the Spanish matador in the bull ring. Close
Added: 4th April, 2025 12:04 PM |
Views : 4045
Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for soprano saxophone, electric guitar & bass guitar. One of the most Show More...
Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for soprano saxophone, electric guitar & bass guitar. One of the most familiar pieces of the Spanish repertoire this arrangement from PlentyMusic is now available to download.
The plentymusic sheet music video and realisation plays back at a tempo of 112 quarter note beats per minute. The tempo in the arrangement is constant.
Accompaniments are in place featuring the acoustic guitar & upright bass. They play back at 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute.
There are many arrangements of this music available from the PlentyMusic sheet music library combining many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using these professionally prepared resources.
The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. There are a number of octave transpositions in the soprano part to avoid notes outside the instrument’s range. In this trio version the introduction has been shortened and the chords played on the electric guitar have been voiced appropriate for the guitarist to be playing in essentially first position.
As there are no percussion instruments in the scoring the arranger has omitted the tremolos from bars 65-71 doubling the flute melody with bass line.
Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the elements of the Spanish idiom and style.
The second section has an appealing syncopated melody with some lightening of the musical texture.
The solo line played needs to be played with confidence and accuracy. It is also an excellent test as an ensemble piece requiring good communication between the soloist & accompanying guitar and bass. The solo part is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach.
The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Martellato means strongly accented.
Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound.
This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed!
A great movement for both the player and the listener for its dramatic and musical qualities. The composition dates from 1923 and was recorded as early as 1926.
Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone). The cadences in Spanish music have a characteristic sound
The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism.
The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. The conception of the dance is a re-imagining of the movements of the Spanish matador in the bull ring. Close
Added: 16th March, 2025 07:03 AM |
Views : 3337
Joaquin Malats Serenata Española from his Impressions of Spain arr. saxophone sextet comprising soprano saxophone, 2 alto saxophones, 2 tenor saxoph Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. saxophone sextet comprising soprano saxophone, 2 alto saxophones, 2 tenor saxophones & baritone saxophone. Individual instrument parts are appended to the full sheet music score in the pdf download.
A sunny piece that features many characteristics typical of Spanish music. Individual instrument parts are appended to the full score available as a pdf download.
Accompaniments are in place enabling the soprano to practice and play as part of an ensemble. They play at 104, 108,112,116 & 120 bpm. There is a 2 bar click track to prepare players for this ensemble experience.
The workability of this arrangement does need to be evaluated and PlentyMusic would value feedback from musicians trying out this arrangement. It is possible that there are better octave options in the parts that could be explored. a piano can always be used to substitute for missing instruments.
animando used in the score implies an increase in tempo and has been placed above the stave as a score marking
The music in this sounds in the key of G minor.
The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata.
This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music of Dvorak, Smetana, Grieg, Granados & Albeniz amongst others.
Playing the scale in the sounding key of G in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode.
In this movement many of characteristic musical sounds of Spain are captured in a score that suggests many images of the country. There is also much figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail.
This movement music was composed and published in the last decade of the 19th century.
There were some ambiguities in the source scores available to the music editor who has spent time removing most errors and inconsistencies.
It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone)
Modal shifts from minor to major also feature
The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases.
Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A)
Spanish music is often dramatic and on occasions invites exaggeration in performance.
The extensive melodic range is a particular characteristic of this movement and instrument ranges are often challenging. Close
Added: 13th February, 2025 15:02 PM |
Views : 2366
Debussy’s Arabesque No. 1 arranged for saxophone quartet, comprising soprano, alto, tenor and baritone saxophones sounding in the key of F. This is Show More...
Debussy’s Arabesque No. 1 arranged for saxophone quartet, comprising soprano, alto, tenor and baritone saxophones sounding in the key of F. This is music composed whilst Debussy was still in his 20’s.
The first Arabesque has a tempo marking Andantino con moto whist the realisation for saxophone quartet plays back at an initial 112 quarter note (crotchet) beats to the minute. The music has been transposed from the original key of E to F. There are some of octave transpositions in the arrangement keeping the instrument parts within the range of the instrument. It is a three section work. Saxophone parts appropriately transposed are appended to the full music score.
Much of the writing in this movement references triadic chords played as arpeggios. The intervals of the thirds and tenth (compound third) feature strongly in the parallel motion It is a three section work with the reflective middle section referencing the key of the sub-dominant.
The triplet pattern is a strong feature of the movement. Instrumentalists new to playing cross rhythms need to practice playing triplet rhythms for a bar and then change it to eighth notes (quavers) so that they develop a clear sense of pulse in their playing.
This a movement where the tempo often ebbs and flows in what is referred to as Tempo Rubato. This is an important aspect of performance practice and something that is first associated with the music of Chopin.
Instrumentalists need to have a clear understanding of all the terms used in the score detail. 20th century music scores do generally have more graphics and terms in place to assist how the music is to be played and interpreted.
A quite stunning and impressionable piece in all senses of the word with a strong sense of melody that lends itself to being arranged for an ensemble such as a clarinet quartet.
Debussy composed his two Arabesques between 1888 and 1891 whilst still in his 20’s. They were originally composed for piano. They are movements that challenge the established pathways of his late romantic contemporaries. They are often described as early impressionist pieces although Debussy himself didn’t like references of his music using the term.
Debussy has famously been described as the composer who opened the door to 20th century musical composition in the sense that his compositional approach was different to that of many of his contemporaries whose music was generally becoming increasingly dissonant. Debussy’s writing is more about exploring the beauty of sound without necessarily following the rules of harmonic writing that prevailed in the 19th century.
Debussy created a new approach to composition in which beauty of sound and line were paramount exploring connections between the visual arts, nature and the environment around him His music is frequently described as being evocative in that he describes in music what he sees, hears and observes from his experiences of life. He is a composer of visual music. Debussy also lived at a time when the world as such was coming to Europe with exhibitions and as a composer he was open and influenced by the many cultures as his music suggests.
Saxophone accompaniments are in place to encourage ensemble practice playing at 100-88 -100 quarter note (crotchets) beats per minute and also 104-092-104, 104-100-104, 108-100-108, 112-096-112 and 112-104-112 bpm with the tempo referring to the music as a three section work. If there are saxophonists who would like additional accompaniments in place please advise the PlentyMusic office with tempo suggestions.
Whilst there are tempo changes in these accompaniments rubato playing is not as such represented.
Arabesque is a term that refers to artistic decoration and line which are terms relevant to music. The art in respect to Arab culture is also extremely relevant as the term suggests having both historical and modern contexts. Spend time looking at Arabesque graphics. There are related aspects to line and position in ballet music so as a description of a piece of music the term Arabesque has several references and meaning. Close
Added: 13th October, 2024 07:10 AM |
Views : 3423
Nola by Felix Arndt arranged for soprano saxophone & piano. The composition dates from 1915. It is frequently referred to as the first piece of novelt Show More...
Nola by Felix Arndt arranged for soprano saxophone & piano. The composition dates from 1915. It is frequently referred to as the first piece of novelty music an idiom that emerged from the ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit.
Arndt was a New York based composer and pianist who died during the Spanish Flu epidemic in 1919.
A soprano saxophone part is appended to the full score in the pdf sheet music download. Piano accompaniments are in place allowing saxophone players to participate in play-a-long ensemble activities as part of music practice routines. The accompaniment tracks play back at 58, 60, 62, 64 & 66 & 68 half note (minim) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. The piano accompaniment is quite playable and not nearly as difficult as the clarinet solo.
Sections need to be played at the same tempo and there is little opportunity for slowing down at the end of phrases and sections. There are a number of octave transpositions in the solo saxophone part to keep within the instruments range.
This is music that moves along quickly but also needs to played in a completely relaxed manner.
Nola is brimming with musical ideas and inventiveness and is a very “modern” sounding work for 1915. As a musical snapshot of its time it references both the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms.
The playing style of the bass and chords is derived from ragtime.
Contrasting and repeating sections are in evidence whilst the formal pattern of the music is A B A C D C A with an 8 bar coda at the end. The composer does not make use of repeat signs. The key plan can be summarised as I – i – I – IV - I
The novelty era has a strong connection with ragtime particularly in its formal patterns and musical shapes.
Whilst the repetitive element is strong the composer does not make use of repeat signs.
The music editor’s observation is that Felix Arndt was a hugely talented, imaginative and inventive composer and it is a tragedy that he did not live longer to compose music that similarly anticipated future trends.
Nola by Felix Arndt dates from 1915. It is frequently referred to as the first novelty piano piece, a musical idiom emerging from the ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit. Close
Added: 22nd April, 2024 14:04 PM |
Views : 2482
Improve music practice routines playing J.S. Bach’s Invention 2 BWV 773 sounding in the key of C minor in an arrangement for soprano & tenor saxopho Show More...
Improve music practice routines playing J.S. Bach’s Invention 2 BWV 773 sounding in the key of C minor in an arrangement for soprano & tenor saxophone duo. The Bach Inventions as duos offer excellent practice & performance opportunities
This is a melodic two part invention with ornaments in place that needs to be played with both feeling and sensitivity. The full score appropriately transposed has appended soprano & tenor saxophone parts.
The realisation plays back at 52 bpm
The pdf sheet music download and play-a-long mp3 accompaniments are available to download from PlentyMusic. Playing the Bach Inventions as part of a duo encourages good intonation, that is, playing in tune, in duet playing. Legato playing is required when performing this invention in what is a slow tempo and melancholy movement. There are some octave transposition in the tenor saxophone needed to keep to the instrument’s range.
Bach composed much music as a teacher with the performing and teaching context often relating to his own children. Four of his sons became important composers relevant in music history because they link the baroque era with the classical.
The inventions offer excellent opportunities to instrumentalists to improve their ensemble playing skill set and develop an understanding of baroque compositional processes. The inventions are uncompromising in the demands they place on performers requiring accuracy technique and concentrated listening.
In the sheet music score the ornaments are indicated but do not sound in the realisation or accompaniments. Those wishing to know how the ornaments are played should refer to the piano video score on the YouTube channel. In this the ornaments have been written out as they should be played.
Accompaniments are in place allowing saxophonists to participate in play-a-long ensemble activities as part of music practice routines. The soprano saxophone sounds on one side of the stereo channel and the tenor saxophone on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 58 & 60 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. Accompaniments are available with and without ornaments in place.
Understand that ornaments can be interpreted differently and that performance practice is both an evolving and often reviewed subject. The music editor avoids ornaments ocurring in different voices at the same time.
How ornaments are played at cadences in particular is a fascinating subject in the baroque era. Frequently players embrace an element of improvisation in their playing.
The best advice is to listen to the performances and learn to discriminate as a performer between good practice and bad practice.
The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. Levels when they are played on different instruments may be different.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system established in Bach’s own time. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution and other processes are evident in Bach’s inventions as in most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent ensemble movements. Close
Added: 2nd April, 2024 14:04 PM |
Views : 3149
Invention 9 BWV 780 sounding in the key of F minor is a challenging invention to play particularly from the note reading and voice leading point of vi Show More...
Invention 9 BWV 780 sounding in the key of F minor is a challenging invention to play particularly from the note reading and voice leading point of view. There are many accidentals to read and it is easy to make music reading errors. The octave range between the parts has been maintained wherever possible but some compromises have been made with octave displacements in the tenor saxophone part. This is an excellent movement to encourage good intonation in duet playing.
A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. Playing the G minor scale in both its melodic and harmonic form will be good preparation for playing this movement.
In the sheet music score the ornaments are indicated but do not sound.
The realisation plays back at 56 quarter note or crotchet beats per minute.
Accompaniments are in place allowing saxophone players to participate in ensemble activities as part of practice routines. The soprano saxophone sounds on one side of the stereo channel and the tenor saxophone on the other. The accompaniment tracks play back at 54, 56, 58, 60, 62 & 64 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks.
In the keyboard video score, which saxophonists may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played.
The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent ensemble movements. Close
Added: 26th February, 2024 05:02 AM |
Views : 2643
J .S. Bach’s Invention 11 BWV 782 arr. soprano & tenor saxophone duo is a work exploring the minor scale. The chromatic element in the movement is s Show More...
J .S. Bach’s Invention 11 BWV 782 arr. soprano & tenor saxophone duo is a work exploring the minor scale. The chromatic element in the movement is strong and the accidentals make this a challenging score to both read and commit to memory.
The sounding key is G minor which is the key for the original piano version. The full score and attached parts have been transposed.
The best preparation for playing this movement is to play the minor scale in both its forms at the sounding pitch.
In this score ornaments are not in place.
The playback score in the arrangement for soprano and tenor saxophones has a tempo of 60 quarter note or crotchet beats to the minute. The suggestion is that the movement can be played both at slower and faster tempo.
The inventions are concentrated demanding movements to play in an ensemble context but excellent for encouraging listening skills, good intonation and accurate playing.
The movement is probably best learnt without the ornaments in place in the first instance.
Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing does need to be avoided.
Accompaniments are in place allowing saxophone players to participate in ensemble activities as part of practice routines. Each clarinet sounds on one side of the stereo channel with the accompaniment tracks playing back at 56, 58, 60, 62, 64, 66 and 68 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks
Instrumentalists should spend time listening to performances of the work by a range of musical instruments to understanding playing approaches.
Players will possibly need to edit their scores with reminders about accidentals within the bar.
The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Playing levels will perhaps need to be reviewed when different instrument combinations are involved.
The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity.
Those learning how to use music notation software and improve their listening skills will find this an excellent study to copy simply because of the many accidentals that require attention from the listening and notation point of view. Accurate notation will suggest an excellent understanding of the staff notation system. Close
Added: 24th January, 2024 16:01 PM |
Views : 2965
J.S. Bach’s Invention 14 BWV 785 arranged for soprano and tenor saxophone duo sounding in the original key of F. An excellent movement to improve e Show More...
J.S. Bach’s Invention 14 BWV 785 arranged for soprano and tenor saxophone duo sounding in the original key of F. An excellent movement to improve ensemble playing and intonation requiring saxophone players to listen to each other and be constantly aware of the eighth note or quaver pulse.
This is a challenging rhythmical work and a movement in which figuration is a substitute for ornamentation.
Players need to have a vision and understanding of the phrasing needed before playing this movement. In this arrangement the
Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score.
The realisation plays back at 52 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. There are a number of octave transpositions in the tenor saxophone 2 part enabling the part to be kept to the instruments range.
Accompaniments are in place allowing alto saxophone players to participate in ensemble activities as part of practice routines. The soprano saxophone sounds on one side of the stereo channel and the tenor saxophone 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 59 and 61 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks.
There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media.
The Bach Inventions are generally intermediate level movements when played on a keyboard instrument.
The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. Close
Added: 28th December, 2023 13:12 PM |
Views : 3704
J.S.Bach’s Invention 8 BWV 779 arranged soprano & tenor saxophones. One of the most popular of the two part inventions with scale runs and chord sha Show More...
J.S.Bach’s Invention 8 BWV 779 arranged soprano & tenor saxophones. One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has individual parts appended to the full score. Accompaniments are also in place to help players improve their technique and ensemble playing skills.
The realisation plays back at 88 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments.
Saxophone players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Music cannot be played quickly until it can be played slowly. There are a few octave transpositions in the tenor saxophone part to keep to the instruments range
Ornaments are not generally featured in this movement whilst the realisation plays back at 88 quarter note or crotchet beats to the minute. Accompaniments are in place allowing trumpet and trombone players to participate in ensemble activities as part of practice routines. The trumpet sounds on one side of the stereo channel and the trombone on the other. The accompaniment tracks play back at 76, 80, 84, 88, 92 and 96 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks.
It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation.
The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments.
The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period.
J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. Close
Added: 13th November, 2023 11:11 AM |
Views : 3273
Clara Schumann’s “Warum willst du And’re fragen” (Why do you question others?) in an arrangement for soprano saxophone & piano. Dating from 18 Show More...
Clara Schumann’s “Warum willst du And’re fragen” (Why do you question others?) in an arrangement for soprano saxophone & piano. Dating from 1841 this is a reflective and contemplative romantic instrumental arrangement #sheet music & accompaniment links:
In the arrangement the piano generally doubles the melody which whilst reassuring for the instrumental soloist doesn't represent best practice in a musical sense.
There should always be a focus on communicating beauty of sound and tone when playing Clara Schumann’s and music by her contemporaries.
The voicing particularly in the piano accompaniment is always very considered with the harmonic writing demonstrating chromatic elements typically found in music of its composition date.
Players who want to understand or even confirm phrasing options should simply sing the melody and identify places in the score where it is necessary to breathe.
There are subtle tempo changes needed as the movement progresses with slowing downs required at the ends of phrases. Returning to a tempo particularly at the start of phrases is an important aspect of performing this music successfully.
Use of the sustaining pedal is recommended but only indicated in the opening bars. The music editor suggests only light use so that the harmonic lines are not blurred or become muddy.
Piano accompaniments are available playing at 72, 74 and 76 quarter note or crotchet beats to the minute. These provide an opportunity for instrumentalists to incorporate ensemble practice as part of regular music practice routines.
There is quite obviously a strong connection and similarities between the composition approach of Robert and Clara Schumann's music. Clara in fact edited much of her husband's music for publishers in the 19th century and was an immense musical talent in her own right. The melody is quite reminiscent of the opening song from Robert Schumann's Dichterliebe song cycle. This is one of the songs that Clara Schumann contributed to Robert Schumann’s 12 Gedichte Aus Liebesfruling Opus 37 Close
Added: 7th June, 2023 09:06 AM |
Views : 2322
An intermediate level arrangement for soprano saxophone and piano of a shortened encore version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. I Show More...
An intermediate level arrangement for soprano saxophone and piano of a shortened encore version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this cut down version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds.As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 44 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments in his music probably better than anybody else. Close
Added: 17th May, 2023 14:05 PM |
Views : 2201
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for saxophone quartet comprising so Show More...
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for saxophone quartet comprising soprano, alto, tenor and baritone saxophones. Individual instrument parts are attached to the full score which is available from PlentyMusic as a pdf download. If circumstances arise then there the music could be performed by an ensemble with each part played by more than one instrument. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. Those who enjoy improvising can always record their work can send it as an mp3 to the PlentyMusic office for feedback. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score which is available to view on the PlentyMusic YouTube channel. This is music that is very appropriate music for a solemn processional in a social context context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor observes that instrumental arrangements of a vocal piece are invariably played at a faster tempo. This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. There are 4 accompaniments in place all playing at 66bpm but allowing for each saxophone to role play performing the piece in practice routines. Close
Added: 2nd May, 2023 09:05 AM |
Views : 4907
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for soprano saxophone w Show More...
Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for soprano saxophone with piano accompaniment the sounding key is Eb and the PlentyMusic realisation plays back at 76 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.
As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. 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: 28th February, 2023 18:02 PM |
Views : 2221
An intermediate level arrangement for soprano saxophone with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s Show More...
An intermediate level arrangement for soprano saxophone with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses.
The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute.
Piano accompaniments are available playing back at 32, 34, 36, 38, 40 and 42 dotted quarter note or crotchet beats to the minute are available.
Soprano players need to be aiming to play with a beautiful legato, planning their breathing carefully and aiming to phrase the music to communicate the beauty of the melodic line. It is an excellent movement for players to work at improving tonal quality and tonal range in their playing.
In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score.
The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection.
The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339.
As there is a reduction in the musical texture some of the original musical content has been omitted.
The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work to study the breathing and phrasing of the singers.
This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
Added: 28th February, 2023 14:02 PM |
Views : 2521
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for saxophone quartet comprising soprano Show More...
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for saxophone quartet comprising soprano, 2 alto and baritone saxophones sounding in the key Eb with the PlentyMusic realisation of the sheet music score playing back at 76 quarter note (crotchet) beats to the minute. The free sheet music score available from PlentyMusic has individual parts appended to the full score. Saxophonists can view and hear the video sheet music score on our YouTube channel.
One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment.
Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the website. The function of these accompaniments is to provide an ensemble playing experience for soprano saxophone players in a home studio situation. The alto saxophone parts are quite challenging to play and so an introductory 2 bar wood block introduction can be heard on the accompaniment mp3.
The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time.
There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute.
This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the soprano saxophone player to memorise.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration.
Formally the pattern of the music can be described as binary represented as ABAB
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this time in music history.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience.
Re-invention is an important aspect of music making and PlentyMusic are keen and willing to both listen and publish work in this category. Close
Added: 26th February, 2023 17:02 PM |
Views : 5008
Bach J.S. Sinfonia 11 BWV 797 arranged for soprano saxophone and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for soprano saxophone 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.
Piano 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 soprano saxophone player the opportunity of playing in an ensemble. For this arrangement it would be fine for any of the accompaniments for Sinfonia 11 in the key of G minor to be used so that a mix and match approach is possible.
In this arrangement the soprano saxophonist plays voice 1 with the piano contributing with voice 2 and voice 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. A soprano saxophone part 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 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: 5th January, 2023 16:01 PM |
Views : 1953
Bach J.S. Sinfonia 11 BWV 797 arranged for saxophone trio. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practic Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for saxophone trio. 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.
Saxophone 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 soprano saxophone player the opportunity of playing in an ensemble.
In this arrangement the soprano saxophone plays voice 1, the alto saxophone voice 2 and the baritone saxophone voice 3. The saxophone trio realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. Individual instrument parts are appended to the full music score that can be downloaded from the PlentyMusic website.
The 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. Saxophonists should be aiming for a legato in their playing.
This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians.
Rehearsal marks are in place at bars 17, 33, 48 and 65 on the music score although the music editor suggests that in music of this style players will know immediately when they not quite together.
While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively.
Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord.
The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and 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: 3rd January, 2023 10:01 AM |
Views : 3319
Sinfonia 8 BWV 794 arr. saxophone trio
Bach J.S. Sinfonia 8 BWV 794 arranged for saxophone trio of soprano, alto and baritone saxophones. The Sinfon Show More...
Sinfonia 8 BWV 794 arr. saxophone trio
Bach J.S. Sinfonia 8 BWV 794 arranged for saxophone trio of soprano, alto and baritone saxophones. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. Download sheet music and accompaniments from PlentyMusic.
The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration and a movement that can be played at a range of tempi. Saxophone parts appropriately transposed are appended to the full sheet music score.
In this arrangement the soprano saxophonist plays the higher voice 1, the alto saxophonist plays the middle voice 2 and the baritone saxophonist voice 3. The trio realisation plays back at 76 quarter note or crotchet beats to the minute
Ornaments have been omitted in the music scores although those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the voices
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both in playing and listening contexts.
Accompaniments playing at 72, 86, 80 and 84 quarter note or crotchet beats to the minute and featuring the clarinet in Bb 2 and bass clarinet parts are available as mp3 downloads from PlentyMusic.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences occurring in bars 7, 15 and 23. Close
Added: 26th November, 2022 10:11 AM |
Views : 3367
Bach J.S. Sinfonia 8 BWV 794 arranged for soprano saxophone & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve mus Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for soprano saxophone & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. Download sheet music and piano accompaniments from PlentyMusic.
The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration that can be played at a range of tempi. A soprano saxophone part is appended to the full sheet music score.
In this arrangement the soprano saxophonist plays the higher voice 1 whilst the piano player contributes with voices 2 and 3 The soprano saxophone and piano realisation plays back at 80 quarter note or crotchet beats to the minute.
Ornaments have been omitted in the preparing of this music scores although those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the 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 are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 72, 86, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. Rits. are not in place at the cadences in these accompaniments although they might be appropriate in a live performance. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website.
Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at the cadences in bars 7, 15 and 23. Close
Added: 25th November, 2022 11:11 AM |
Views : 2322
F.J. Gossec’s Tambourin arranged for saxophone quintet. Improve music practice routines by downloading sheet music and piano accompaniments from Pl Show More...
F.J. Gossec’s Tambourin arranged for saxophone quintet. Improve music practice routines by downloading sheet music and piano accompaniments from PlentyMusic.
A short but very appealing movement ideal as an encore for a well prepared and competent saxophone group. The arrangement is scored for soprano, 2 alto tenor and baritone saxophones.
The dance element is particular strong in French music and this is a dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 112 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at a brisk tempo.
There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals.
A performance piece to challenge solo players to step up to advanced level standards although rhythmical and articulation aspects can be micro-managed in presenting the movement for performance to an audience
There are some rhythmic options that can be explored in the clarinet in Bb 1 part in the section 51-57. The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semi quavers and demisemiquavers!)
Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch.
Individual parts for the 5 instruments are appended to the full score in the pdf download.
Accompaniments / backing tracks are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute giving the soprano saxophonist the opportunity to practice in context.
Gossec was a French composer and pupil of Rameau although little known outside France
He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in
Paris.
France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
Added: 14th November, 2022 13:11 PM |
Views : 5446
F.J. Gossec’s Tambourin arranged for soprano saxophone and piano. Improve music practice routines by downloading sheet music and piano accompanimen Show More...
F.J. Gossec’s Tambourin arranged for soprano saxophone and piano. Improve music practice routines by downloading sheet music and piano accompaniments from PlentyMusic.
A short but very appealing movement ideal as an encore for the competent soloist well warmed up and prepared to engage with the challenges of presenting a concert piece. The choice of tempo, managing the figuration in the section from bars 51-57 and how the melody is articulated especially from bars 80–89 identify just some of the performance challenges and considerations.
The dance element is particular strong in French music and this dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 118 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at as brisk a tempo as possible.
There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals.
A performance piece to challenge players to step up to advanced level standards although rhythmical and articulation aspects can be managed in presenting the movement for performance to an audience.
There are some rhythmic options that can be explored in the section 51- 57
The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semiquavers and demisemiquavers!)
Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch.
A soprano saxophone part is appended to the full score in the pdf download.
Piano accompaniments are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute.
Gossec was a French composer and pupil of Rameau although little known outside France
He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris.
France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
Added: 14th November, 2022 10:11 AM |
Views : 3623
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 79 Show More...
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790) for saxophone trio. The arrangement is scored for soprano, alto and baritone saxophones
As there is a strong chromatic element in the writing careful attentions needs to be paid to the reading of the notes and particularly the duration of the notes.
The saxophone trio realisation plays back at 42 quarter note or crotchet beats to the minute.
This is an excellent ensemble piece for developing good intonation (playing in tune) in group music making contexts.
No ornaments are indicated in this arrangement. Those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Accompaniments that feature the alto and baritone saxophone parts are available playing at 40, 42, 44 and 46 quarter note or crotchet beats to the minute are available as mp3 downloads.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 3rd November, 2022 14:11 PM |
Views : 3676
Bach J. S. | Sinfonia 4 BWV 790 arr. soprano saxophone and piano
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. Show More...
Bach J. S. | Sinfonia 4 BWV 790 arr. soprano saxophone and piano
J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790) for soprano saxophone & piano.
As there is a strong chromatic element in the writing careful attentions needs to be paid to the reading of the notes and particularly the note values in this melancholy movement.
The clarinet in Bb and piano realisation plays back at 42 beats to the minute
This is an excellent ensemble piece for developing good intonation (playing in tune).
No ornaments are indicated in this arrangement. Those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context.
Piano accompaniments playing at 40, 42, 44 and 46 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 31st October, 2022 21:10 PM |
Views : 2338
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for saxophone trio of of soprano, alto and baritone saxophones
This trio version Show More...
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for saxophone trio of of soprano, alto and baritone saxophones
This trio version realisation plays back at 56 quarter or crotchet beats to the minute.
The sinfonias are conceived in three parts or voices and are excellent ensemble pieces encouraging players to listen to each other.
The movement should not be played too quickly. The music editor’s advice is that all players need to have the clearest of intentions regarding the articulation of the lines and the range of dynamics. Whilst movements need to be played with control there also needs to be a lightness in the playing approach.
The movement needs to be played, in the first instance, with an awareness of the quarter note or crotchet pulse. Ornaments have not been marked in the sheet music score but they can be added by players who are familiar with the performance practice of the time.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for three instruments
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution. For all musicians it is important to understand these terms in both a playing and listening context.
Accompaniments are available featuring the alto and baritone saxophone providing opportunity for soprano saxophone players to develop their ensemble playing in a home practice situation. They play at 56, 60, 64 and 68 quarter or crotchet beats notes to the minute They are recorded at 256kbps and a two bar introduction gives the pulse
Please feedback your experience both positive and negative to PlentyMusic. Close
Added: 24th October, 2022 13:10 PM |
Views : 3659
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for soprano saxophone and piano.
The movement should not be played too quickly. Show More...
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for soprano saxophone and piano.
The movement should not be played too quickly. The music editor’s advice is that all playing need to have the clearest of intentions regarding the articulation of the lines and the range of dynamics. Whilst movements need to be played with control there also needs to be a lightness in the playing approach.
Ornaments have not been marked in the sheet music score but they can be added by players who are familiar with the performance practice of the time.
Piano accompaniments are available playing at 56, 60, 64 and 68 quarter note or crotchet beats to the minute. The recording quality is 256kbps and a two bar woodblock introduction gives a quarter note or crotchet beat pulse
Players need to understand that the rhythmic shapes in the melody have a strong repetitive element which is familiar characteristic of music from this era.
The tempo of the realisation is 60 quarter note or crotchet beats to the minute. The movement needs to be played with an awareness of a quarter note or crotchet pulse.
This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times.
The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations.
The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution. For all musicians it is important to understand these terms in both a playing and listening context.
The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close
Added: 24th October, 2022 11:10 AM |
Views : 2087
An intermediate level arrangement for saxophone quintet of a movement from a Mendelssohn organ sonata. Scored for soprano, 2 alto, tenor and baritone Show More...
An intermediate level arrangement for saxophone quintet of a movement from a Mendelssohn organ sonata. Scored for soprano, 2 alto, tenor and baritone saxophones, individual parts for instrumentalists are appended to the full score available as a pdf download from PlentyMusic. mp3 accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute enabling soprano saxophone players to participate in ensemble activities as part of their practice routines. Should more accompaniments be needed possibly for other instruments in the ensemble please advise the PlentyMusic Office. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially a chorale or hymn much in keeping with the chorale of J. S. Bach although Mendelssohn’s harmonic language is chromatic rather than diatonic. There is opportunity to slow down and pause at the ends of phrases although there is only one such marking in the sheet music score. Playing chorale arrangements like this are excellent for developing ensemble playing and good intonation. The realisation plays back at 72 quarter note beats to the minute. Mendelssohn was an extremely popular composer in England. Described as a romantic composer he leans more to the classical line of the tradition along with composers Schubert (1797 – 1828) Chopin (1810 – 1849) and Brahms (1833- 1897) rather than the more radical represented by Berlioz (1803 – 1869), Liszt (1811 – 1886), and Wagner (1813-1883). Schumann (1810 - 1856) is the composer who interestingly links the two threads. Close
Added: 26th April, 2022 10:04 AM |
Views : 5419
This arrangement for saxophone quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for soprano, alto, tenor and baritone saxoph Show More...
This arrangement for saxophone quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for soprano, alto, tenor and baritone saxophones. Instrumental parts for individual instruments are appended to the full score. Accompaniments are also available allowing the soprano saxophone player to enjoy ensemble practice in context. There is a one bar eighth note (quaver) click track before the alto, tenor and baritone saxophones start to sound. The accompaniments play back at 80, 84 and 88 eighth (quaver) notes to the minute. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of 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 not typical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Saxophonists 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. 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 18:03 PM |
Views : 5208
This intermediate level arrangement from PlentyMusic for saxophone trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Show More...
This intermediate level arrangement from PlentyMusic for saxophone trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini is scored for a combination of soprano, alto and tenor saxophones. Giardini’s trio’s music are beautifully crafted works and need to be re-discovered and played. The tempo marking in the sheet music score is Adagio whilst the realisation of the score plays back at 44 dotted quarter (crotchet) notes to the minute. The chromatic element is a feature in the writing.
Accompaniments are available for the soprano saxophone playing at 42, 44, 46 and 48 dotted quarter (crotchet) note beats to the minute. If additional accompaniments are required for alto and tenor saxophone practice please advise the PlentyMusic Office. Trills begin on the note and have been notated in full in the video score. This area of performance practice is one that encourages debate and if instrumentalists have an alternative and the music editor is aware of at least one please do advise the PlentyMusic Office with an mp3 recording of a performance or rehearsal or even a sheet music version.
The siciliana, siciliano or sicilienne is a slow dance with a lilting rhythm in three time which can be described as a slow jig and features quite strongly in baroque music and in many works since. Such music is often in the minor key, pastoral in character with dotted rhythms frequently prevailing. Its origins are possibly Sicilian because of its association with the Sicilian born Alessandro Scarlatti but more likely to the madrigals of the Italian renaissance. Giardini’s music is familiar to those who sing hymns as the tune Moscow was composed by him. Giardini 1716 – 1796 Italian by birth, was a violinist and composer, who toured widely in Europe settling in England and becoming an orchestra leader of the Italian Opera in London and director of the orchestra at the London Pantheon. He worked closely with his friend and colleague J. C. Bach, familiarly referred to as the the London Bach. For a 15 year period from the mid 1750’s Giardini was considered to be one of the very best performing artists of his time. As a composer his chamber music, particularly his string trios, are best known and his compositional style combines style galant with the classicism of J. C. Bach and the Mannheim school associated with Stamitz. This so called pre-classical period in music is a fascinating period to study because of the great diversity in music across the main music centres of Europe. After leaving England in 1784 for Naples his career faltered due mainly to changes in secure financial circumstances. Close
Added: 11th March, 2022 12:03 PM |
Views : 5463
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for soprano saxophone with piano accompaniment sounding in the key of D minor. A soprano Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for soprano saxophone with piano accompaniment sounding in the key of D minor. A soprano saxophone part appropriately transposed is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 19th February, 2022 09:02 AM |
Views : 2385
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for saxophone quartet comprising soprano, alto tenor and baritone saxophones. Individual Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for saxophone quartet comprising soprano, alto tenor and baritone saxophones. Individual parts are appended to the full score in the pdf download. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 47|94|47 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close
Added: 18th February, 2022 15:02 PM |
Views : 5107
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for soprano saxophone and piano Gounod’s melody is played by the soprano s Show More...
In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for soprano saxophone and piano Gounod’s melody is played by the soprano saxophonist while the Bach Prelude No. 1 is played by the pianist. The music has been transposed to the Key of F which is more appropriate in respect to the pitch range of the soprano saxophone. 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 in C 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: 13th December, 2021 12:12 PM |
Views : 2649
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 soprano saxophone 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 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 video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling soprano saxophone players to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They 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: 8th November, 2021 12:11 PM |
Views : 3167
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for soprano saxophpne and piano is in the Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for soprano saxophpne and piano is in the key of E minor and features the Cuban habanera pattern. A soprano saxophone part is appended to the full music score. Piano accompaniments are available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument.
Most of Cervantes movements are very short and benefit from being played through twice.
The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 18th October, 2021 16:10 PM |
Views : 3121
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for saxophone quartet is in the key of Am Show More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for saxophone quartet is in the key of Am and features the Cuban habanera pattern. The arrangement is scored for soprano, alto, tenor and baritone saxophones whilst Individual parts for players are appended to the full music score in the pdf download. It is an excellent piece for ensemble players to help their tuning and intonation by listening to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play absolutely in tune. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the lines to keep to the best and most appropriate range of the instruments. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 66 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) and does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Should some re-scoring be required please advise the PlentyMusic Office. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 12th October, 2021 10:10 AM |
Views : 5965
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for soprano saxophone and piano enables players to deve Show More...
Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for soprano saxophone and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for soprano saxophone 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 G 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 14:10 PM |
Views : 2986
Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervntes is a movement that explores the habanera pattern. The saxophone quartet arra Show More...
Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervntes is a movement that explores the habanera pattern. The saxophone quartet arrangement is a great performance pieces enabling #saxophonists to explore tone, articulation and dynamics. 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 84 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 G 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. 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: 2nd October, 2021 18:10 PM |
Views : 6115
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for soprano saxophone with pian Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for soprano saxophone with piano accompaniment. It features many of the rhythmic shapes that feature in Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. The solo Instrumental part is appended to the full music score which can be downloaded as a pdf. Piano accompaniments are available playing at tempi of 56, 58 and 60 quarter note (crotchet) beats to the minute and can be downloaded as mp3 files recorded at 256kbps quality. Close
Added: 31st August, 2021 07:08 AM |
Views : 2999
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This intermediate level arrangement from PlentyMusic for saxophone s Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This intermediate level arrangement from PlentyMusic for saxophone sextet of 2 soprano, alto, 2 tenor and baritone saxophones is available as a free score. It features many of the rhythmic patterns characteristic of Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. If PlentyMusic users require some re-scoring of the movement please advise the PlentyMusic Office of your requirements. Instrumental parts are appended to the full music score which can be downloaded as a pdf. Close
Added: 27th August, 2021 08:08 AM |
Views : 6086
The Minuet and Trio in Eb by Franz Schubert is an excellent performance piece and this intermediate level arrangement for soprano saxophone with piano Show More...
The Minuet and Trio in Eb by Franz Schubert is an excellent performance piece and this intermediate level arrangement for soprano saxophone with piano accompaniment is available from PlentyMusic. Piano accompaniments are also available. 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. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the music scores is 120 quarter note beats to the bar whilst 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 and players would be wise to explore the question and answer aspect of this piece. The movement originates as 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. 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. A soprano saxophone part is appended to the full score which can download from the website. Close
Added: 6th August, 2021 07:08 AM |
Views : 2781
The Minuet & Trio in Eb by Franz Schubert is an excellent performance piece and this arrangement is for saxophone quartet comprising soprano, 2 alto a Show More...
The Minuet & Trio in Eb by Franz Schubert is an excellent performance piece and this arrangement is for saxophone quartet comprising soprano, 2 alto and tenor saxophones. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. Individual instrument parts are appended to the full score which can be downloaded as pdf file from the PlentyMusic website. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the chamber music scores is 116 quarter note beats to the bar with the Minuet and Trio played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. The movement was originally a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small ornamental notes in bar 41 do not sound in the realisation and possibly are best not added until the movement can be played competently. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases predominantly feature. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Should any changes, re-scoring or arrangements for another instrument grouping be needed please contact the PlentyMusic Office and the music editor will respond to the request. Close
Added: 3rd August, 2021 10:08 AM |
Views : 4722
The Minuet is performed without the written repeats sounding in the realisation and has been transposed down a semitone to the key of Ab. This is a qu Show More...
The Minuet is performed without the written repeats sounding in the realisation and has been transposed down a semitone to the key of Ab. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score although when necessary there are some octave transpositions to keep to a convenient range of the solo instrument. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Whilst originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. 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. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager! Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No piano pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. This is a hidden gems of the music repertoire and needs to played and become better known by instrument players and their audiences. An ideal concert even encore movement, there are many arrangements to be discovered on the PlentyMusic website. A part for the soprano saxophone appropriately transposed is appended to the full score in the pdf download. Close
Added: 5th July, 2021 07:07 AM |
Views : 3002
The saxophone arrangement of the Minuet in Ab D.338 available from PlentyMusic as a free score. The full score has appended parts and is available as Show More...
The saxophone arrangement of the Minuet in Ab D.338 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. The saxophone quintet arrangement is scored for soprano, 2 alto, tenor and baritone saxophones. The Minuet and Trio is performed without the repeats in the Minuet sounding in the realisation. 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 a different instrument combination 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 14:07 PM |
Views : 5995
A quite vivid movement although one isn’t sure what Schumann is endeavouring to describe although from the music view a march pattern is suggested b Show More...
A quite vivid movement although one isn’t sure what Schumann is endeavouring to describe although from the music view a march pattern is suggested both by the time signature and the musical ideas. The arrangement for soprano saxophone, tenor saxophone and piano has a playback tempo of 100 quarter note (crotchet) beats to the minute. The music has been transposed down a tone and sounds in the key of A minor. There are some octave transpositions in the tenor saxophone part. A canon arises in the description of a musical piece simply because musical ideas are imitated by another voice or instrument. It doesn’t necessarily describe the overall form or structure of a piece. The Study in Canon No. 5 is in three sections ABA’ with Section B beginning at bar 37 and the varied repeat of A at bar 83. The imitation in this movement is shared first between the soprano and tenor saxophone and in the final section between the piano and soprano saxophone. The trio versions are strong simply because the contrasting timbres enable the musical ideas and imitation to be communicated more readily. Understand that the canonic element in Schumann’s time references all the musical elements and not just pitch: dynamics, articulation, ornamentation are all part of the canonic process. The crushed notes or acciaccaturas are a prominent musical feature. This is essentially a study in the articulation of short notes and occasional longer notes. Compositional process is evident from bar 49 where the canonic element involves inversion. This is a challenging music setting to engrave and prepare for print mainly because the score has so much detail which is not easy to represent with clarity on the sheet music page. Accompaniments are available as mp3 downloads featuring the tenor saxophone and piano parts playing at 92, 96, 100 and 104 quarter note (crotchet) beats to the minute. This enables a soprano saxophone player to incorporate ensemble playing into their practice routines. The accompaniments are recorded at 256kbps. Parts for the soprano saxophone and tenor saxophone appropriately transposed are appended to the full score. Close
Added: 4th June, 2021 08:06 AM |
Views : 4755
Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s ori Show More...
Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s original writing. The trio realisation plays back at 72 quarter note (crotchet) beats to the minute. The tempo indication is to play the movement “Not too quickly” which be played in quite a broad tempo range. In the video score, which can be found by clicking the YouTube link on the PlentyMusic home page, the ornaments have been written out to add clarity to what often is an ambiguous area. The PlentyMusic solution is not intended to be prescriptive but the suggestions are based on the best of current performance practice. The ornaments can be omitted and this is probably sensible when the movement is first being studied. The rhythmic detail requires some attention particularly with the tied notes across the bar line creating what are syncopated patterns. Pianists may well make of use the sustaining pedal, particularly in the section from bar 25, although its use is not indicated in the sheet music score. Accompaniments are available from the PlentyMusic website in mp3 format that enable the oboe player to explore the movement as an ensemble piece. Recorded at 256kbps quality they playback at 64, 68, 72, 76 and 80 quarter note beats to the minute. Schumann’s 6 Studies in Canon Opus 56 exist in several arrangements for many different instrument combinations and are well worth exploring particular as an introduction to chamber music playing. Close
Added: 11th May, 2021 11:05 AM |
Views : 4534
This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expandi Show More...
This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music to be enjoyed by a chamber group. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on our PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the soprano saxophone player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a tenor saxophone and require just the piano sounding in the accompaniment. Close
Added: 13th April, 2021 11:04 AM |
Views : 4786
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Co Show More...
This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 92 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are in this category. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy.
Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 104 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 100 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 92 and Accompaniment 5 at 88 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close
Added: 27th January, 2021 14:01 PM |
Views : 3246
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Show More...
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for soprano saxophone, tenor saxophone and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the soprano saxophone part to accommodate the range of the instrument. Parts for both saxophones appropriately transposed are appended to the full score.
The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays back at 63 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned.
The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the soprano saxophone as a solo. The piano and tenor saxophone sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close
Added: 28th December, 2020 09:12 AM |
Views : 5711
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Show More...
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for soprano saxophone, baritone saxophone and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the soprano saxophone part to accommodate the range of the instrument. Parts for both saxophones appropriately transposed are appended to the full score.
The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays back at 63 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned.
The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the soprano part as a solo. The piano and baritone saxophone sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close
Added: 28th December, 2020 09:12 AM |
Views : 5620
In this arrangement for soprano saxophone with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 qua Show More...
In this arrangement for soprano saxophone with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (crotchet) beats a minute in the first and last A section and 144 in the middle B section. The first section could be played at a slower or quicker tempo and likewise the middle section. The movement needs to be played with a one in a bar feel and features the triplet figuration that is so characteristic of Spanish music. Players should endeavour to communicate the charm and intimacy of the music whilst the melody and accompaniment need to be articulated with clarity and consistency. The movement is in ABA ternary form and has a regular 8 bar phrase structure. In fact each of the main sections are in ternary form so analysis of the movement reveals a structure that can be represented as A (a b a) B (c d c) A (a b a). Octave transpositions are in place where appropriate and chord voicings in the accompaniment have been occasionally edited. The melody is also presented as a single note line. Tempo rubato is something that can be embraced in a performance but has not been used in the realisation and playback. Similarly, the sustaining pedal can be used although its use is not indicated in the sheet music score. The slowing downs that feature at the end of phrases are also not marked in the score. This is music intended for performance in the early 20th century drawing room. This colourful movement exists in several chamber and orchestral arrangements. Moszkowski is a composer whose brilliant piano pieces in particular are worthy of attention although much of the music is technically very challenging. Piano accompaniments are available playing at the following tempi (1) 144/144/144 (2) 138/150/138 (3) 135/144/135 (4)126/138/126.ture. If you require a more bespoke accompaniment please advise the PlentyMusic office and we will create and upload it for you. The acciaccatura or crushed note do not sound in bar 20 and bar 116. Instrumentalists may well review the playing of the small ornamental notes and leave them out entirely although they have been retained in the sheet music score. Close
Added: 26th August, 2020 13:08 PM |
Views : 2832
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...
Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. The playback tempo in the playback score is 58 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in Eb and the B section in Gb. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The use of the piano sustaining pedal is recommended but is not indicated in the score. The writing of Gottschalk is influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the tonal range, articulation and dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. A soprano saxophone part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close
Added: 6th April, 2020 08:04 AM |
Views : 3350
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 soprano saxophone accompanied by the piano sounding in the key of Eb, the soloist 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 featured in 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 quite represented in the realization. A soprano saxophone 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: 3rd March, 2020 16:03 PM |
Views : 3593
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Solo players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A soprano saxophone part appropriately transposed is appended to the sheet music score. Close
Added: 1st January, 2020 17:01 PM |
Views : 3134
An arrangement for soprano, two alto, tenor and baritone saxophones – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovs Show More...
An arrangement for soprano, two alto, tenor and baritone saxophones – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1878 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 and tone quality in the melody playing. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. The score and parts can be downloaded as a one document pdf file from the website. Accompaniments are in place enabling the soprano saxophone to enjoy ensemble practice as part of playing routines. Close
Added: 9th December, 2019 20:12 PM |
Views : 7265
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 and the music sounds in Bb. A soprano saxophone 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 11:12 AM |
Views : 3278
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 soprano saxophone 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 video score 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. There are some octave transpositions in the arrangement needed to keep the soprano saxophone within its range. 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 soprano saxophone part 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 : 3420
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 soprano saxophone 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 soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 29th October, 2019 16:10 PM |
Views : 3407
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 saxophone quartet of soprano, alto, tenor and baritone saxophones 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. Close
Added: 20th September, 2019 07:09 AM |
Views : 5905
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 Eb is for soprano saxophone accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a soprano saxophone part appropriately transposed is appended to the full score. Accompaniments are in place playing at 82, 84, 86 and 88 quarter note (crotchet) beats per minute. A click track introduction is not necessary. This is an excellent piece to develop tonal quality and legato playing. Close
Added: 18th September, 2019 15:09 PM |
Views : 3333
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...
The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” 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 soprano saxophone 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 soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 29th August, 2019 09:08 AM |
Views : 3288
When The Saints Go Marching In arranged for saxophone quintet sounding in the key of F. There are parts for parts for soprano, 2 x alto, tenor and bar Show More...
When The Saints Go Marching In arranged for saxophone quintet sounding in the key of F. There are parts for parts for soprano, 2 x alto, tenor and baritone saxophones. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist keyboard player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. Individual parts for the five instruments are appended to the full score. Close
Added: 13th August, 2019 17:08 PM |
Views : 5438
When The Saints Go Marching In arranged for clarinet in Bb and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute Show More...
When The Saints Go Marching In arranged for clarinet in Bb and piano in the key of F. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. A soprano saxophone part appropriately transposed is appended to the full score and an accompaniment is in place. Close
Added: 13th August, 2019 08:08 AM |
Views : 3527
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 54 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 soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 12th August, 2019 12:08 PM |
Views : 3636
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 soprano saxophone part appropriately transposed is appended to the full score. A piano accompaniment is available for this arrangement. Close
Added: 24th July, 2019 07:07 AM |
Views : 3162
This is an excellent piece for developing legato playing and instrument tone and this arrangement is for soprano, alto, tenor with possibly two instru Show More...
This is an excellent piece for developing legato playing and instrument tone and this arrangement is for soprano, alto, tenor with possibly two instruments playing each line and baritone saxophone. 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 saxophone ensemble to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. Individual saxophone parts are appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close
Added: 15th April, 2019 12:04 PM |
Views : 6483
This is an arrangement for soprano saxophone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dan Show More...
This is an arrangement for soprano saxophone with piano accompaniment 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 whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the soprano saxophone part is only sounded on the repeat and some performers also cut out 4 beats in the link between bars 10 and 11. 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 soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A soprano saxophone part is appended to the full music score in the pdf download. Close
Added: 17th March, 2019 15:03 PM |
Views : 3910
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Show More...
Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. Some performers play the repeat of the C section at the octave as indicated in the score but this is optional. An soprano saxophone part is appended to the full score. Close
Added: 19th February, 2019 18:02 PM |
Views : 3247
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 sounds in the key of F and 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 features strongly. A soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 27th January, 2019 17:01 PM |
Views : 3718
In this arrangement for saxophone quartet the specified instruments are soprano, alto, tenor and baritone saxophones. The score is formatted as a one Show More...
In this arrangement for saxophone quartet the specified instruments are soprano, alto, tenor and baritone saxophones. The score is formatted as a one document pdf file with individual parts for the four saxophones appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb which is the sounding key of this realisation playing at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly in this sunny piece. Close
Added: 26th January, 2019 13:01 PM |
Views : 7996
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 soprano saxophone and piano sounding in the key of F 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 in the realisation. 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 soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 5th December, 2018 11:12 AM |
Views : 3326
This is a very popular piece of music that in many respects transcends idiom, style & it could be suggested culture. This improver level arrangement i Show More...
This is a very popular piece of music that in many respects transcends idiom, style & it could be suggested culture. This improver level arrangement is in common time while some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary style. There are so many interpretations that it is almost impossible to decide how it should be sung, played & 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. This arrangement explores a gentle rock style whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar. The full score includes a piano short score and individual parts for soprano, alto, tenor and baritone saxophone are appended to the full score.
Accompaniments are in place allowing both the soprano and alto saxophone players to participate in ensemble music activities as part of practice routines. The soprano saxophone player requires the ATB accompaniments and plays the melody while the alt saxophone player plays the STB accompaniments and plays the second line in the arrangement. Close
Added: 26th November, 2018 19:11 PM |
Views : 7489
This is intermediate level arrangement for soprano saxophone with piano accompaniment based on a cut down version of the piano and SATB vocal arrangem Show More...
This is intermediate level arrangement for soprano saxophone with piano accompaniment based on a cut down version of the piano and SATB vocal arrangement by the composer transcribed to the key of F minor. The elements of the piece are a distinctive melody, combined with an accompaniment that is for much of the time figurative in character, the occasional countermelody and bass line. Fauré composed music that references both modal and harmonic scales and this explains the feature known as “false relation” (conflicting accidentals in different voices) which appear in bar 22 and 23 and several other bars. It is music that needs to be played with clarity and dignity and not too quickly. The realisation plays back at 80 quarter note (crotchet) beats to the minute. If the movement is played too quickly it loses its poise and gracefulness. The music exists in many different arrangements but is probably most familiar in its orchestral version although it started off life as a piano piece in the 1880’s. The trill in the realisation begins on the note & begins and ends with sixteenth notes as shown in the video score on YouTube although trills are open to being interpreted in different ways. The pavane has its origins as a slow processional dance popular in the renaissance period but has since been given a new lease of life by composers including Fauré and Ravel. The music editor suggests that the pianist makes limited use of use of the sustaining pedal particularly when the bass notes have a quarter note (crotchet) value. The arrangement lasts for approximately 3 minutes and is therefore ideally suited as a concert item. An soprano saxophone part appropriately transposed is appended to the full score. Close
Added: 20th November, 2018 14:11 PM |
Views : 3437
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Show More...
This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations. In this arrangement the accompanying chords have been updated to make the setting more contemporary. A soprano saxophone part appropriately transposed is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close
Added: 6th November, 2018 12:11 PM |
Views : 3582
An arrangement for soprano saxophone and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (mi Show More...
An arrangement for soprano saxophone 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 soprano saxophone 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 : 3910
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the ag Show More...
Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for clarinet in B flat and piano the playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 75 start on the note. A soprano saxophone part appropriately transposed is appended to the full score. There are three accompaniments available playing at (1) 104 (2) 100 and (3) 96 quarter note (crotchet) beats to the minute. Close
Added: 12th October, 2018 14:10 PM |
Views : 3963
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 soprano saxophone part appropriately transposed is also 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 11:10 AM |
Views : 3302
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 soprano saxophone part is appended to the full score.There are four accompaniments available without a click track for the introduction 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.Score reviewed October 2025. Close
Added: 1st June, 2018 09:06 AM |
Views : 3952
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig Show More...
A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and this has been indicated in the opening bars of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute. A soprano saxophone part is appended to the full score appropriately transposed as is the same part in the full score. Quite a challenge to determine an appropriate tempo in what is music generally played with fluidity and rubato although Fauré himself was regarded as something of a metronome when accompanying singers! The music editor has the view that the movement is often played too quickly. Accompaniments are available at (1) 58, (2) 54 and (3) 50 dotted quarter note (crotchet) beats to the minute. There is a four bar count in to assist the soloist. For any player requiring a bespoke accompaniment please mark a music score with all the detail that you require regarding tempo and dynamics and forward to the PlentyMusic team. We will endeavour to provide a solution. Just drop your edited music score as an image or pdf to the PlentyMusic office. Close
Added: 9th April, 2018 08:04 AM |
Views : 3466
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for soprano and alto saxop Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for soprano and alto saxophones with piano accompaniment and piano the sounding key is Ab whilst the realisation tempo is at 76 quarter note (crotchet) beats to the minute with the repeats not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 21st November, 2017 08:11 AM |
Views : 5119
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for soprano saxophone with Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for soprano saxophone with piano accompaniment the realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. Both the full score and the appended solo soprano saxophone version have the saxophone part appropriately transposed. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 76, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close
Added: 15th November, 2017 17:11 PM |
Views : 3919
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 acciaccaturas (crushed notes) do not sound in the realisation. This is an excellent piece to explore playing at a slow tempo. Listen to a number of recordings of performances particularly by singers to gain an understanding of how this music can be performed. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. A soprano saxophone part is appended to the full 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 16:08 PM |
Views : 3118
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. The full score and appended solo part have the soprano saxophone part appropriately transposed. Accompaniments are available and play at the following tempi (1) 60 (2) 58 (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment. Close
Added: 24th July, 2017 10:07 AM |
Views : 3433
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...
A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. The full score is notated at pitch whilst the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 2993
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. Whilst the full score copy is notated with the soprano saxophone at sounding pitch the appended saxophone part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3523
Fernando Sor's L'Encouragement Opus 34 originally for guitar duet, comprises three movements intended to be performed as a continuous movement althou Show More...
Fernando Sor's L'Encouragement Opus 34 originally for guitar duet, comprises three movements intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. The appended score has the solo soprano saxophone part appropriately transposed whilst the full score copy is notated with the soprano saxophone at sounding pitch. Close
Added: 27th July, 2017 11:07 AM |
Views : 3675
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for soprano saxophone with piano accompaniment sounding in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. Observe that the full score has the soprano saxophone part notated at pitch whilst the appended solo part has the soprano saxophone part appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3257
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of Bb. Ther Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of Bb. There are some octave transpositions to keep the soprano saxophone in a convenient range and some of the articulation markings that feature in the original score have been removed or modified to encourage a flowing melody line. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 3299
In this arrangement of Tico-Tico for soprano saxophone with piano accompaniment the sounding key is C minor/major and a tempo of 84 quarter note (crot Show More...
In this arrangement of Tico-Tico for soprano saxophone with piano accompaniment the sounding key is C minor/major and a tempo of 84 quarter note (crotchet) beats to the minute is used in the realization in which the repeats are played. The soprano saxophone part appropriately transposed is also appended to the full score. The piece is structured into three sections and the formal pattern can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments are available as mp3 downloads playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close
Added: 27th July, 2017 11:07 AM |
Views : 3836
