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Serenata Española (Impressions of Spain) arr. brass sextet

Joaquin Malats Serenata Española from his Impressions of Spain arr. brass sextet comprising 2 trumpets in Bb , French horn, trombone, bass trombone Show More...

Joaquin Malats Serenata Española from his Impressions of Spain arr. brass sextet comprising 2 trumpets in Bb , French horn, trombone, bass trombone & tuba. Individual instrument parts are appended to the full sheet music score in the pdf download. Use the signing up free credit facility to download the score and parts & possibly an accompaniment. Improve music reading and performing skills by using PlentyMusic pdf sheet music & mp3 accompaniment downloads. A sunny piece that features many characteristics typical of Spanish music. Individual instrument parts are appended to the full score available as a pdf download. If some instruments are missing in an intended performance a piano accompaniment can be readily added substituting parts. Improve music practice routines with PlentyMusic accompaniments in place as mp3 downloads enabling the trumpet in Bb 1 player to practice and play as part of an ensemble. They play at 104, 108, 112, 116 & 120 bpm. There is a 2 bar click track to prepare players for this ensemble experience. Learn how easy it is to download PlentyMusic pdf & mp3 files from our website and make use of the user dashboard. In this arrangement the long trill trumpet in Bb 1 part has been omitted The workability of this arrangement does need to be evaluated and PlentyMusic would value feedback from musicians trying out this arrangement. It is possible that there are better octave options in the parts that could be explored. In the arrangement six parts have been created from the originally intended five. animando used in the score implies an increase in tempo and has been placed above the stave as a score marking The music in this sounds in the key of G minor. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in composition. The music of composers from countries on the fringes of Europe started to appear in concert programmes. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests many images of the country. There is also much figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time hopefullyremoving errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement and instrument ranges are often challenging. Close

Invention 9 arr. trumpet in B flat & trombone

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. This is an excellent movement to encourage good intonation in duet playing. There are some octave transpositions in the trombone part. A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. Playing the F minor scale in both its melodic and harmonic form slowly would be excellent preparation for playing this movement. In the sheet music score the ornaments are indicated but do not sound. Both the bass and tenor clefs have been used in the notation of the score. The realisation plays back at 54 quarter note or crotchet beats per minute. Accompaniments are in place allowing trumpet and trombone players to participate in ensemble activities as part of practice routines. The trumpet in Bb sounds on one side of the stereo channel and the trombone on the other. The accompaniment tracks play back at 50, 52, 54, 56, 58, 60 & 62 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. In the keyboard video score, which trombonists may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution & 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

Invention No. 14 arr. trumpet in B flat & trombone

J.S. Bach’s Invention 14 BWV 785 arranged for trumpet in Bb and trombone sounding in the original key of Bb. This is a challenging rhythmical work a Show More...

J.S. Bach’s Invention 14 BWV 785 arranged for trumpet in Bb and trombone sounding in the original key of Bb. This is a challenging rhythmical work and a movement in which figuration is a substitute for ornamentation. This is an excellent movement to improve ensemble playing and intonation requiring brass players to listen to each other. Players need to have a vision and understanding of the phrasing needed before playing this movement. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 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. Accompaniments are in place allowing trumpet in Bb and trombone players to participate in ensemble activities as part of practice routines. The trumpet in Bb sounds on one side of the stereo channel and the trombone on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56 and 59 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

Invention 8 arr. trumpet in B Flat & trombone

J.S.Bach’s Invention 8 BWV 779 arranged for trumpet in Bb and trombone sounding in the key of F. One of the most popular of the two part inventions Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for trumpet in Bb and trombone sounding in the key of F. 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 technical 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. Trumpet and trombone 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. 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, 96 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

Valse Sentimentale arr. trumpet in Bb & piano

An intermediate level arrangement for trumpet in Bb and piano of a cut down version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this short Show More...

An intermediate level arrangement for trumpet in Bb and piano of a cut down version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6. In this shortened encore 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 the 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 38, 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

Lullaby (Weigenlied) Opus 49 No.4 arr. trumpet in Bb & piano | intermediate level

Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for trumpet in Bb with Show More...

Lullaby (or Cradle Song) by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for trumpet in Bb with piano accompaniment the sounding key is F 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 website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance. The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time in music history. As a song intended to be sung by different voices 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

Laudate Dominum arr. trumpet in Bb & piano

An intermediate level arrangement for trumpet in Bb with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s int Show More...

An intermediate level arrangement for trumpet in Bb 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 PlentyMusic video sheet music score plays back at 36 dotted quarter notes or crotchet beats to the minute. Improve music practice routines with PlentyMusic piano accompaniments playing back at 32, 34, 36, 38, 40 & 42 dotted quarter note or crotchet beats to the minute which are available from the PlentyMusic website. 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. 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

Sinfonia 11 BWV 797 arr. trumpet in B flat (middle voice 2) & piano

Bach J.S. Sinfonia 11 BWV 797 arranged for trumpet in Bb playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent Show More...

Bach J.S. Sinfonia 11 BWV 797 arranged for trumpet in Bb playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration. Accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the violist the opportunity of playing in an ensemble. In this arrangement the the trumpet player contributes with voice 2 whilst the pianist plays voices 1 and 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. A trumpet in Bb part appropriately transposed is appended to the full music score that can be downloaded from the PlentyMusic website. The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone. This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians. While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively. Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate. The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times. The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord. The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences. Do make sure that your instrument is in tune before playing with an accompaniment. PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close

Sinfonia 11 BWV 797 arr. trumpet in B Flat & piano

Bach J.S. Sinfonia 11 BWV 797 arranged for trumpet in Bb and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve musi Show More...

Bach J.S. Sinfonia 11 BWV 797 arranged for trumpet in Bb and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration. Accompaniments playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the trumpet 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. Playing the voice 2 arrangement may well be an easier option In this arrangement the trumpet player plays voice 1 with the piano contributing with voices 2 and 3 . The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. An oboe part is appended to the full music score that can be downloaded from the PlentyMusic website. There is a one note octave transposition in bar 51 and oboists may choose to play the middle C in the previous bar an octave higher to keep the shape of the line/voice. The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone. This particular movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that features in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians. Rehearsal marks are in place at bars 17, 33, 48 and 65 on the music score although the music editor suggests that in music of this style players will know immediately when they not quite together. While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively. Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate. The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times. The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord. The organ which is also a keyboard instrument but required the need for a person to operate the bellows and was essentially a church instrument The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in the writing. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and 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

Sinfonia 11 BWV 797 arr. brass trio | trumpet in Bb, French horn & bass trombone

Bach J.S. Sinfonia 11 BWV 797 arranged for brass trio of trumpet in Bb, French horn & bass trombone The Sinfonia arrangements from PlentyMusic are exc Show More...

Bach J.S. Sinfonia 11 BWV 797 arranged for brass trio of trumpet in Bb, French horn & bass trombone The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. The Sinfonia 11 in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration. Brass accompaniments, featuring the French horn and bass trombone, playing at 30, 32, 34 and 36 dotted quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic giving the trumpet in B flat player the opportunity of playing in an ensemble. In this arrangement the trumpet in Bb plays voice 1, the French horn voice 2 and the bass trombone voice 3. The brass trio realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. Appropriately transposed instrument parts are appended to the full music score. Please advise the PlentyMusic office should you require any additional arrangements and accompaniments with a specification as to the instrumentation and tempo. The sinfonias are excellent movements to develop and improve ensemble playing. There is a considerable melodic range in the three voices with each having a range of close to two octaves. Playing such ranges encourages the development of good intonation (playing in tune) and will make players aware of the importance of quality of tone. Brass players should be aiming for a legato in their playing. This movement is a very good test of ensemble playing particularly because of the tied notes across the bar lines and the imaginative rhythmic and melodic figuration that feature in the movement. To fully appreciate the rhythmic fluidity of the movement instrumentalists should experience playing the movement in an ensemble. This fluidity in the rhythmic shapes possibly part explains one of the reasons why Bach’s music is often adapted and played by jazz musicians Rehearsal marks are in place at bars 17, 33, 48 and 65 on the music score although the music editor suggests that in music of this style players will know immediately when they not quite together. While this music sounds emotional and encourages an emotional response to listeners it needs to be performed with a clarity and intention. Ornaments have been omitted in the preparing of this music score although those familiar with the performance practice of baroque music may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the other voices. The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times. The Sinfonias would have been mainly played on the keyboard instruments of Bach’s time available in the home which may have included the clavichord and harpsichord. The organ which is also a keyboard instrument required the need for a person to operate the bellows and was essentially a church instrument The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation and sequence feature strongly in this particular sinfonia The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendos with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences. Do make sure that your instrument is in tune before playing with an accompaniment. PlentyMusic realisations and accompaniments are pitched at A = 440 hertz. Close

Sinfonia 8 BWV 794 arr. trumpet in B Flat (middle voice) & piano

Bach J.S. Sinfonia 8 BWV 794 arranged for trumpet in Bb & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve ensembl Show More...

Bach J.S. Sinfonia 8 BWV 794 arranged for trumpet in Bb & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve ensemble 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 trumpet in Bb part appropriately transposed is appended to the full sheet music score. In this arrangement the trumpet player plays the middle voice 2 whilst the pianist contributes with voices 1 and 3 The trumpet in Bb and piano realisation plays back at 76 quarter note beats crotchet beats to the minute Ornaments have been omitted in the music score although, those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the 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, 76, 80 and 84 quarter note or crotchet beats to the minute are available as mp3 downloads from PlentyMusic. Please advise the PlentyMusic Office more accompaniments are required with the tempo specified. 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 - bars 7, 15 and 23. Close

Sinfonia 8 BWV 794 arr. trumpet in B Flat & piano

Bach J.S. Sinfonia 8 BWV 794 arranged for trumpet in Bb & piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music p Show More...

Bach J.S. Sinfonia 8 BWV 794 arranged for trumpet in Bb & 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 sounds 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 trumpet part appropriately transposed is appended to the full sheet music score. In this arrangement the trumpet player plays the higher voice 1 whilst the piano player contributes with voices 2 and 3 The trumpet in Bb and piano realisation plays back at 76 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

Tambourin arr. brass quintet

F.J. Gossec’s Tambourin arranged for brass quintet. Improve music practice routines by downloading sheet music and piano accompaniments from Plenty Show More...

F.J. Gossec’s Tambourin arranged for brass quintet. Improve music practice routines by downloading sheet music and piano accompaniments from PlentyMusic. A short but very appealing movement ideal as an encore for a well prepared brass group. The arrangement is scored for 2 trumpets in Bb, French horn, trombone and tuba. A bass trombone can be used as a substitute for the tuba. The dance element is particular strong in French music and this is a dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 112 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at a brisk tempo. There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals. A performance piece to challenge solo players to step up to advanced level standards although rhythmical and articulation aspects can be micro-managed in presenting the movement for performance to an audience There are some rhythmic options that can be explored in the trumpet in Bb 1 part in the section 51-57. The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semi quavers and demisemiquavers!) Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch. Individual parts for the 5 instruments are appended to the full score. Accompaniments / backing tracks are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute giving the trumpet in Bb 1 the opportunity to practice in context. ? Gossec was a French composer and pupil of Rameau although little known outside France He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris. France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close

Tambourin arr. trumpet in B flat and piano

routines by downloading sheet music and piano accompaniments from PlentyMusic. A short but very appealing movement ideal as an encore for the compet Show More...

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 trumpet in Bb 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

Sinfonia 4 BWV 790 arr. trumpet in B flat 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 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 trumpet in Bb & 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 trumpet 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

Sinfonia 5 BWV 791 arr. trumpet in Bb & piano

An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for trumpet in B flat 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 trumpet in B flat 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 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

Andante tranquillo | Second Movement from Organ Sonata Opus 65 No. 3 arranged for brass quintet

An intermediate level arrangement for brass quintet of a movement from a Mendelssohn organ sonata. The score is available as pdf download from PlentyM Show More...

An intermediate level arrangement for brass quintet of a movement from a Mendelssohn organ sonata. The score is available as pdf download from PlentyMusic. mp3 accompaniments are also available. Scored for 2 trumpets in Bb, French horn (horn in F), trombone and tuba or bass trombone. Individual parts for instrumentalists are appended to the full score available as a pdf download from PlentyMusic. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially a chorale or hymn much in keeping with the chorale of J. S. Bach although Mendelssohn’s harmonic language is chromatic rather than diatonic. There is opportunity to slow down and pause at the ends of phrases although there is only one such marking in the sheet music score. There are some octave transpositions in the flute and oboe parts. Playing chorale arrangements like this are excellent for developing ensemble playing and good intonation. A generally quiet movement, clarinet players should be aiming for a legato in their playing. The video score/ realisation plays back at 72 quarter note beats to the minute. mp3 accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute enabling flute players to participate in ensemble activities as part of their practice routines. Should there be a requirement to substitute an additional brass instrument please advise the PlentyMusic office. Mendelssohn was an extremely popular composer in England. Described as a romantic composer he leans more to the classical line of the tradition along with composers Schubert (1797 – 1828) Chopin (1810 – 1849) and Brahms (1833- 1897) rather than the more radical represented by Berlioz (1803 – 1869), Liszt (1811 – 1886), and Wagner (1813-1883). Schumann (1810 - 1856) is the composer who interestingly links the two threads. Close

Cantilene from Organ Sonata No.11 Opus 148 arranged for brass quartet

This arrangement for brass quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for trumpet in Bb, French horn (horn in F) tromb Show More...

This arrangement for brass quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for trumpet in Bb, French horn (horn in F) trombone and bass trombone or tuba. Instrumental parts for individual instruments are appended to the full score. Accompaniments are also available enabling trumpet players to practice in context. There is a one bar eighth note (quaver) click track before the French horn, trombone and bass trombone 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 very untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Brass players should play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts. The small ornamental notes in the score frequently do not sound in realisations and are best omitted whilst the movement is first being studied. Cantilena is an Italian/Latin word suggesting both lullaby and song. A movement that is intended to be played quietly in a sustained approach. The melody and inner parts needs to be played with a legato whilst the bass line is played with a detached or staccato touch. This is an excellent movement for developing good intonation in ensemble playing. The melody explores several rhythmic motifs often featuring tied notes. Much of the writing features off-beat rhythms related to the resolving of the dissonances in the inner parts. The influence of the Bach 4 part chorale harmonisation is paramount together with the chromatic harmony that can be readily identified in the music of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniment. Close

Siciliana from String Trio Opus 17 No.1 arr. brass trio

This intermediate level arrangement from PlentyMusic for brass trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Gia Show More...

This intermediate level arrangement from PlentyMusic for brass trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini is scored for trumpet in Bb, French horn and bass trombone. Giardini’s string trio’s music are beautifully crafted works and need to be re-discovered and played. The tempo marking in the sheet music score is Adagio whilst the realisation of the score plays back at 44 dotted quarter (crotchet) notes to the minute. The chromatic element is a feature in the writing. Accompaniments are available for the trumpet in Bb playing at 42, 44, 46 and 48 dotted quarter (crotchet) note beats to the minute. If additional accompaniments are required French horn and bass trombone practice please advise the PlentyMusic Office. Trills begin on the note and have been notated in full in the video score. This area of performance practice is one that encourages debate and if instrumentalists have an alternative and the music editor is aware of at least one please do advise the PlentyMusic Office with an mp3 recording of a performance or rehearsal or even a sheet music version. The siciliana, siciliano or sicilienne is a slow dance with a lilting rhythm in three time which can be described as a slow jig and features quite strongly in baroque music and in many works since. Such music is often in the minor key, pastoral in character with dotted rhythms frequently prevailing. Its origins are possibly Sicilian because of its association with the Sicilian born Alessandro Scarlatti but more likely to the madrigals of the Italian renaissance. Giardini’s music is familiar to those who sing hymns as the tune Moscow was composed by him. Giardini 1716 – 1796 Italian by birth, was a violinist and composer, who toured widely in Europe settling in England and becoming an orchestra leader of the Italian Opera in London and director of the orchestra at the London Pantheon. He worked closely with his friend and colleague J. C. Bach, familiarly referred to as the the London Bach. For a 15 year period from the mid 1750’s Giardini was considered to be one of the very best performing artists of his time. As a composer his chamber music, particularly his string trios, are best known and his compositional style combines style galant with the classicism of J. C. Bach and the Mannheim school associated with Stamitz. This so called pre-classical period in music is a fascinating period to study because of the great diversity in music across the main music centes of Europe. After leaving England in 1784 for Naples his career faltered due mainly to changes in secure financial circumstances. Close

Spanish Dance No.5 (Andaluza) arranged trumpet in B flat and piano

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for trumpet in B flat with piano accompaniment sounding in the key of D minor. A trumpet Show More...

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for trumpet in B flat with piano accompaniment sounding in the key of D minor. A trumpet in B flat 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

Spanish Dance No.5 (Andaluza) arranged for brass quartet

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for brass quartet comprising 2 trumpets in B flat, trombone and tuba or bass trombone. In Show More...

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for brass quartet comprising 2 trumpets in B flat, trombone and tuba or bass trombone. 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

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

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for brass quartet comprising 2 trum Show More...

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for brass quartet comprising 2 trumpets in B flat, French horn and trombone. Instrument parts are attached to the full score which is available from PlentyMusic as a pdf download. If circumstances arise then there the music could be performed by a brass ensemble with each part played by more than one instrument. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. Those who enjoy improvising can always record their work can send it as an mp3 to the PlentyMusic office for feedback. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score which is available to view on the PlentyMusic YouTube channel. This is music that is very appropriate music for a solemn processional in a social context context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor observes that instrumental arrangements of a vocal piece are invariably played at a faster tempo. This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Close

Ave Maria arr. trumpet in B Flat & piano

In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for trumpet in Bb and piano Gounod’s melody is played on the trumpet playe Show More...

In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for trumpet in Bb and piano Gounod’s melody is played on the trumpet player while the Bach Prelude No. 1 is played by the pianist. The music has been transposed to the key of F. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to overpedal and obscure the clarity of the harmony. Piano accompaniments are available as mp3 downloads playing at 63, 66, 68, 70 and 72 beats per minute (bpm). Pitch is at A = 440 hertz and the recording quality is 256kbps which will allow the recordings to be amplified and used in performances, teaching and practice contexts. Originally published as a Meditation on Prelude No. 1 by J. S. Bach the music appeared in 1859 with a text setting of the Latin prayer “Ave Maria” which has become widely known and performed both as an instrumental and vocal solo. Whilst Bach is a baroque composer Gounod, a French composer, known particularly for his operas belongs to the romantic period in music history. The movement is frequently performed at weddings and funerals as well as being an excellent concert piece. As this movement is so familiar to audiences performers cannot afford to even go near playing a wrong note never mind actually playing one! Close

Ave Maria arr. trumpet in B Flat and piano

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 trumpet in Bb and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung, particularly for weddings, nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling trumpet 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

Invitación (Invitation) arr. trumpet in B Flat and piano

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for trumpet in Bb and piano is in the key Show More...

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for trumpet in Bb and piano is in the key of E minor and features the Cuban habanera pattern. A trumpet in Bb is appended to the full music score on the pdf download. Piano accompaniments are also 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

Invitación (Invitation) arr. brass quartet

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for brass quartet is in the key of Am and Show More...

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for brass quartet is in the key of Am and features the Cuban habanera pattern. The arrangement is scored for 2 trumpets in Bb, trombone and tuba or bass trombone with 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

Los Tres Golpes (The Three Knocks) arr. trumpet in B Flat and piano

Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for trumpet in Bb and piano enables players to develop Show More...

Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for trumpet in Bb and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for trumpet in Bb 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

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

Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervantes is a movement that explores the habanera pattern. The brass quartet arrange Show More...

Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervantes is a movement that explores the habanera pattern. The brass quartet arrangement enables players to explore and develop tone, articulation and dynamics in their playing. The arrangement is scored for 2 trumpets in Bb, trombone and tuba. 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 also 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

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

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

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This intermediate level arrangement from PlentyMusic for brass sextet of 3 trumpets in Bb, 2 trombones, and tuba 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

Minuet and Trio in E Flat D.335 arr. brass quartet

The Minuet and Trio in Eb by Franz Schubert is an excellent performance piece and this is an arrangement for brass quartet of 2 trumpets in Bb, French Show More...

The Minuet and Trio in Eb by Franz Schubert is an excellent performance piece and this is an arrangement for brass quartet of 2 trumpets in Bb, French horn and trombone. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. Individual instrument parts are appended to the full score which can be downloaded as pdf file from the PlentyMusic website. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the chamber music scores is 116 quarter note beats to the bar whilst both the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations. The movement was originally a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. The small ornamental notes in bar 41 do not sound in the realisation and possibly are best not added until the movement can be played competently. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. Should any changes, re-scoring or arrangements for another instrument grouping be needed please contact the PlentyMusic Office and the music editor will respond to the request. PlentyMusic. Close

Minuet in A Flat arr. brass quintet of 2 trumpets, French horn, trombone and tuba D.334

The brass quintet arrangement of the Minuet is available from PlentyMusic as a free score. The full score has appended parts and is available as a pdf Show More...

The brass quintet arrangement of the Minuet is available from PlentyMusic as a free score. The full score has appended parts and is available as a pdf download. Using the PlentyMusic android app the music could be printed from a smart phone. The brass quintet arrangement is scored for 2 trumpets in Bb, French horn, 2 trombone and tuba. Individual instrument parts transposed where appropriate are appended to the full score in the pdf download. The Minuet and Trio is performed without the repeats in the Minuet sounding. A quiet enchanting movement that demonstrates how much that Franz Schubert was a chamber musician. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver musically and accurately. It is an excellent movement for developing an understanding of a musical texture in the romantic era. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. Another challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. If you would like the movement to be scored for any other instruments please advise the PlentyMusic Office and one of the team will explore the possibilities. PlentyMusic would be interested in hearing and seeing any performances of this movement either in mp3 or mp4 format. Close

Study in Canon No.6 Opus 56 arr. trumpet in B Flat, trombone & piano

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 64 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 the 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 trumpet in Bb 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 trombone and require just the piano sounding in the accompaniment. Close

Manchega arr. trumpet in Bb & piano

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 Gottschalk’s virtuoso 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 sounds in the key of 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. If you do spend time listening to the music of Gottschalk one senses the underlying influence of Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the 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 trumpet in Bb part appropriately transposed is appended to the full score. The small ornamental notes do not sound in the realization and the music editor suggests leaving them out certainly during the learning of the piece. It is then up to the player’s own discretion whether to play them or not. 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. 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. 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. The music editor worked from an old print copy of the work and there were several ambiguities in the score so any feedback on detail would be much appreciated. Close

Mi Teresita (Little Waltz) arr. trumpet in Bb & piano

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 trumpet in Bb accompanied by the piano the sounding key is Eb. Trumpet players should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not a featured of the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A trumpet in Bb 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

None But The Lonely Heart Heart arr. trumpet in B Flat & piano

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. Trumpet 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 trumpet in Bb part appropriately transposed is appended to the sheet music score. Close

First Movement from Sonata orig. in G arr. arr. trumpet in B Flat & piano

Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by il Show More...

Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The sounding key is Eb and the tempo in the realisation is 66 quarter note (crotchet) beats to the minute whilst the repeat is not played. In the sheet music score the ornaments are represented by symbols although the mordents do not sound and are optional. For those actually wanting to see how the ornaments are played have a look at the realisation score which is on our YouTube channel. Elements of baroque style can be identified in the rhythmic detail and the contrasting dynamics. The uses of the sustaining pedal by the piano accompanist is recommended and there is some score detail relating to its use in place. An arrangement for solo violin with piano accompaniment by Alessandro Longo based on the trio sonata by Pergolesi is the source for this particular arrangement. Longo is best known for his work cataloguing Scarlatti’s sonatas and apart from being a fine concert pianist was Director of the Naples Conservatory. There are many other works have been incorrectly attributed to Pergolesi because as his name was well known, it was easy to sell the sheet music of others in this way! A trumpet in Bb appropriately transposed is appended to the full score. There are three piano accompaniments available at tempos of (1) 68 (2) 66 and (3) 64 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time. Close

Sweet Dreams arr. trumpet in B Flat & piano

This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...

This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a trumpet part appropriately transposed is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close

Romantic Piece No.1 arr. trumpet in B Flat & piano

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 trumpet in Bb accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. There are some octave transpositions in the arrangement needed to keep the alto 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 trumpet 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

Norwegian Dance No.2 arr. trumpet in B Flat & piano

An arrangement for trumpet in Bb and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a Show More...

An arrangement for trumpet in Bb and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. Pianists have a number of different techniques that they develop when playing this piece including legato, staccato, accents, tenuto, spread chords, crossing over of hands and using the sustaining and sostenuto pedal. It is a very good piece for developing octave playing. The sustaining pedal needs to be used in the playing of the movement and many of the piano chords are played in a spread or arpeggiated pattern. Grieg lived at a time when there was much development in piano technique and the quality of pianos improved greatly during his lifetime with the introduction of iron framed instruments. The humour in the music also invites an exaggerated performance although not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Where appropriate some octave transpositions have been incorporated into the trumpet melody. As is the case with music from this period the sheet music copy has a considerable amount of score detail. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Piano duets were a very popular in the late 19th century and much music would appear in this format. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. A trumpet in Bb part appropriately transposed is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/112/68 (2) 66/112/66 (3) 64/108/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close

Pavane pour une infante défuncte arr. trumpet in B Flat & piano

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 trumpet in Bb 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 trumpet in Bb part appropriately transposed is appended to the full score. Close

Shenandoah arr. brass quartet

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Show More...

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s.The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for a brass quartet comprising trumpet or cornet in Bb, tenor horn, baritone and tuba sounding in the key of Eb. The playback tempo is 84 quarter note beats to the minute and individual parts appropriately transposed are appended to the full score. The music editor is quite happy to respond to requests for an arrangement that includes other brass instruments. Please advise the PlentyMusic office. Close

Shenandoah arr. trumpet in B Flat & piano

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 trumpet in Bb accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a trumpet in Bb part appropriately transposed is appended to the full score. Close

La biondina in gondoleta arr. trumpet in Flat & piano

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expres Show More...

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The word barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for trumpet in Bb 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 trumpet in Bb part appropriately transposed is appended to the full score. Close

When The Saints Go Marching In arr. trumpet in B Flat & piano

When The Saints Go Marching In arranged for trombone and piano sounding in the key of F. The playback tempo is 100 half note or minim beats to the min Show More...

When The Saints Go Marching In arranged for trombone and piano sounding 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 trumpet in Bb part appropriately transposed is appended to the full score and a piano accompaniment is in place. Close

Nel cor più non mi sento arr. arr. trumpet in Bb & piano

Paisiello was 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 th Show More...

Paisiello was 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 trumpet part is appended to the full score. Close

The Last Rose of Summer arr. trumpet in Bb & piano

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 trumpet in Bb part is appended to the full score. A piano accompaniment is also available for this arrangement. Close

Pieds-en-l’air arr. trumpet in B Flat & piano

This is an excellent piece for developing legato playing and instrument tone. It is also a good test piece because a successful performance requires a Show More...

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

Neapolitan Song arr. trumpet in B Flat & piano

This is an arrangement for trumpet in Bb with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances Show More...

This is an arrangement for trumpet in Bb 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 trumpet part is only sounded on the repeat and some performers cut out 4 beats in the link between bars 9 and 10. 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 trumpet part is appended to the full music score and a piano accompaniment is available to download. Close

Neapolitan Song arr. brass quintet

This is an arrangement for brass quintet comprising two trumpets in Bb, horn in F (French horn), trombone and tuba of Tchaikovsky’s Neapolitan Dance Show More...

This is an arrangement for brass quintet comprising two trumpets in Bb, horn in F (French horn), trombone and tuba of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the trumpet part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the players and has been well rehearsed. Individual parts for each of the instruments are appended to the full score. Close

No Bailes Más! (Dance No More) arr. trumpet in Bb & piano

Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling Show More...

Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation also sounds in the key of Eb and plays at a tempo of 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 trumpet in Bb part appropriately transposed is appended to the full score. Close

No Bailes Más! (Dance No More) arr. brass quartet

In this arrangement for brass quartet the specified instruments are trumpet in Bb, horn in F (French horn), trombone and tuba. The score is formatted Show More...

In this arrangement for brass quartet the specified instruments are trumpet in Bb, horn in F (French horn), trombone and tuba. The score is formatted as a one document pdf file with individual parts appropriately transposed for the brass instruments appended to the full score. Note that horn in F part does not make use of a key signature in the appended part.Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D it plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly. If any re-scoring needs or changes to the instrumentation please advise the PlentyMusic office. Close

Swing Low, Sweet Chariot arr. brass quartet

This is a very popular piece of music that in many respects transcends idiom, style and it could be suggested culture. This improver level arrangement Show More...

This is a very popular piece of music that in many respects transcends idiom, style and it could be suggested culture. This improver level arrangement for brass quartet of trumpet, horn in f, trombone & euphonium or tuba is in common time while some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary style. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. This arrangement explores a gentle rock style whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar. The full score includes a piano short score and individual parts for the 4 brass instruments are appended to the full score. Close

Swing Low, Sweet Chariot arr. trumpet in B Flat & piano (Eb)

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 trumpet in Bb and piano sounding in the key of Eb is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A trumpet in Bb appropriately transposed is appended to the full score. Close

Swing Low, Sweet Chariot arr. trumpet in B Flat & piano (F)

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 trumpet in Bb 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. 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 trumpet in Bb appropriately transposed is appended to the full score. Close

Skye Boat Song arr. trumpet in B Flat & piano

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Princ Show More...

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel The repeat is optional and a trumpet in B flat part 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

Santa Lucia arr. trumpet in B Flat & piano

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 trumpet in B flat part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close

The Swan arr. trumpet in B Flat & piano

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 trumpet in Bb part appropriately transposed is appended to the full score. The music editor is interested in hearing from trumpet players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of F. There are 4 accompaniments available playing at 75,72, 69 and 66 quarter note (crotchet) beats to the minute. Close

The Swan arr. trumpet in B Flat & piano

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 trumpet in Bb part appropriately transposed is appended to the full score. The music editor is interested in hearing from trumpet players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of Ab. Close

Serenade (Petite Suite) trumpet in Bb & piano

Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Show More...

Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and the piece has a strong melodic element A tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor suggests use of the piano sustaining pedal when playing the accompaniment although this has not been marked in the score. A trumpet in Bb part appropriately transposed is appended to the full score. Close

The Easy Winners arr. trumpet in B Flat, trombone & piano

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet in Bb, trombon Show More...

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet in Bb, trombone and piano the sounding key is Ab whilst the realisation tempo is at 76 quarter note (crotchet) beats to the minute and the repeats are 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. Trumpet in Bb and trombone parts are appended to the full score. Piano accompaniments are available as mp3 downloads at tempi of 72, 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

The Easy Winners arr. trumpet in B Flat & piano

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet and piano the Show More...

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet and piano the sounding key is Ab. The realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats are 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

Notturno arr. Brass Quintet

The arrangement is scored for two trumpets, horn in F (French Horn), trombone and bass trombone and uses the first theme from the third movement of Bo Show More...

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

Notturno arr. trumpet in B flat & piano

This arrangement for trumpet in Bb with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D com Show More...

This arrangement for trumpet in Bb with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly referred to as “Notturno” meaning night piece. It is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. Some octave transpositions have been applied and the player has the option of exploring the octave range of the instrument in the the repeat of the thematic material. A tempo of 70 quarter note beats to the minute is used in the realisation. There are 4 sections in the arrangement – theme, repeat of the theme repeated with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. Wherever possible material from the original work dating from 1881 has been incorporated into the arrangement although the appoggiaturas that appear in the original string quartet version have been omitted. A trumpet in Bb part appropriately transposed is appended to the full score which is notated at pitch. Close

Après un rêve arr. trumpet in Bb & piano in D minor

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 in D minor 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. An appropriately transposed solo trumpet in Bb part is appended to the full score.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

Après un rêve arr. trumpet in Bb & piano in C minor

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. An appropriately transposed solo trumpet in Bb features in both the full score and the appended solo part.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

Jeanie with the light brown hair arr. Bb trumpet & piano

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. A solo trumpet part appropriately transposed is appended to the full score. Close

The Teddy Bears’ Picnic arr. trumpet in B Flat & piano

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 trumpet in Bb with piano accompaniment sounding in the key of Eb 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 trumpet in Bb part notated at pitch whilst the appended solo part is appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note (crotchet) beats to the minute. Close

Dedicatoria arr. trumpet in B Flat & piano

A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for trumpet in Bb accompanied by piano, the tempo of the Show More...

A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for trumpet in Bb accompanied by piano, the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download with the trumpet part appropriately transposed. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period commonly referred to as the nationalist period in music history. Close

Spring Song arr. trumpet in B Flat & piano

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used Show More...

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. In the arrangements for solo instrument with piano accompaniment some voicing changes have been made to the piano part to aid clarity and musicianship. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music edtor's preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Piano accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute. There is a two bar introductory click track sounding on the woodblock before the movement begins. If players need a click track added for the cadenza at bars 48-49 please advise the PlentyMusic office. Close

Escovado arr. trumpet in B Flat & piano

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 trumpet in Bb 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

Romanze arr. trumpet in B Flat, trombone & tuba

This is a charming piece of music in 6/8 time and taken from one of Beethoven's Sonatinas for piano. In this arrangement the trumpet in Bb plays the m Show More...

This is a charming piece of music in 6/8 time and taken from one of Beethoven's Sonatinas for piano. In this arrangement the trumpet in Bb plays the melody whilst the trombone accompanies playing broken chords with the tuba providing an outline bass line. A tempo of 66 dotted quarter beats to the minute is recommended and as the music sounds in the key of F the part for the trumpet in Bb has been appropriately transposed. Close

Serenade arr. brass trio of Trumpet in B Flat, French horn & Tuba

This is a three part arrangement for a brass trio comprising trumpet in Bb , horn in F (French horn) and tuba of this familiar piece from the string Show More...

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

Theme & Variations arr. trumpet in B Flat & trombone

This is an two part arrangement of Beethoven's Theme and Variations on a Swiss Air WoO 64 for trumpet in Bb and trombone introducing players to the e Show More...

This is an two part arrangement of Beethoven's Theme and Variations on a Swiss Air WoO 64 for trumpet in Bb and trombone introducing players to the elements of Classical style and more particularly to Beethoven's compositional approach . The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations although variations 2 & 3 need to be played at a slightly slower tempo. Close

Theme & Variations arr. trumpet in B Flat & tuba

This is an two part arrangement of Beethoven's Theme and Variations on a Swiss Air WoO 64 for trumpet in Bb and tuba introducing players to the eleme Show More...

This is an two part arrangement of Beethoven's Theme and Variations on a Swiss Air WoO 64 for trumpet in Bb and tuba introducing players to the elements of Classical style and more particularly to Beethoven's compositional approach . The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations although variations 2 & 3 need to be played at a slightly slower tempo. Close

The Good Time’s Rag arr. trumpet in B Flat & trombone

An arrangement for trumpet in Bb and trombone of this piece intended to introduce players to the musical elements that feature in ragtime. The trumpet Show More...

An arrangement for trumpet in Bb and trombone of this piece intended to introduce players to the musical elements that feature in ragtime. The trumpet in Bb plays the melody whilst the trombone plays the accompanying bass line. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. Players are welcome to repeat the 8 bars in performance. The trumpet part has been transposed to sound in the key of Bb. Close

Wilson’s Rag arr. trumpet in B Flat & piano

An arrangement of this ragtime waltz for trumpet in Bb accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested a Show More...

An arrangement of this ragtime waltz for trumpet in Bb accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. As the sounding key is F the trumpet part has been appropriately transposed. Close

Wilson’s Rag arr, trumpet in B Flat & trombone

A two part arrangement of this ragtime waltz for trumpet in Bb and trombone. A tempo of 110 quarter note (crotchet) beats to the minute is suggested a Show More...

A two part arrangement of this ragtime waltz for trumpet in Bb and trombone. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. As the sounding key is F the trumpet part has been appropriately transposed. Close

Over the Waves arr. trumpet in Bb & piano

Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly an Show More...

Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most familiar of Latin American melodies. The waltz is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at a tempo of 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A trumpet in Bb part appropriately transposed is appended to the full music score. Piano accompaniments are available as an mp3 download at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close

Twinkle, Twinkle Little Star arr. trumpet in B Flat & trombone

A familiar melody used to introduce some of the stylistic elements associated with the playing of classical music.

Prelude in C arr for two B Flat trumpets & trombone

An arrangement for two Bb trumpets and trombone of this elegant piece with flowing lines that trancribes effectively to this instrument combination. T Show More...

An arrangement for two Bb trumpets and trombone of this elegant piece with flowing lines that trancribes effectively to this instrument combination. The realisations are played at a tempo of 60 half note (minim) beats to the bar.The trombone part may be played semi staccato to help separate the parts. Close

Sleeper\'s Wake arr. B Flat trumpet & tuba

Arranged for Bb trumpet and trombone this is a shortened two part version of this movement familiarising players with its rhythmic figuration and bass Show More...

Arranged for Bb trumpet and trombone this is a shortened two part version of this movement familiarising players with its rhythmic figuration and bass line. This is music based on a chorale (hymn) tune that would have been familiar to Bach's congregations. The rhythmic shapes sound modern and not surprisingly the movement has been subject to being arranged by a number of contemporary performing groups in a variety of styles. Close

March in C arr. trumpet in B Flat and tuba

An arrangement for trumpet in Bb and tuba of this characterful and lively march written in cut time.

Minuet in D minor BWV App. 132 arr. trumpet in B Flat & trombone

An arrangement for trumpet and trombone of this melancholy piece attributed to J. S. Bach sounding in the very expressive key of D minor. A legato pl Show More...

An arrangement for trumpet and trombone of this melancholy piece attributed to J. S. Bach sounding in the very expressive key of D minor. A legato playing approach is advised. Much of the music that appears in collections by Bach such as the "Anna Magdalena Notebook"and attributed to him has often been composed by some else. Close

Musette BWV App.126 arr. trumpet in B Flat and tuba

An arrangement for trumpet in Bb and tuba of this lively rhythmic movement. Notes need to be clearly articulated and there are some quite challengin Show More...

An arrangement for trumpet in Bb and tuba of this lively rhythmic movement. Notes need to be clearly articulated and there are some quite challenging rhythms to communicate in the middle section. Close