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

An intermediate level arrangement for string quintet of a movement from a Mendelssohn organ sonata. Scored for 2 violins, 2 violas and cello, individu Read More...

An intermediate level arrangement for string quintet of a movement from a Mendelssohn organ sonata. Scored for 2 violins, 2 violas and cello, 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, string players should be aiming for a legato in their playing. The realisation plays back at 76 quarter note (crotchet) beats to the minute. mp3 accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute enabling violin players to participate in ensemble activities as part of their practice routines. Close

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

This arrangement for string quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for two violins, viola and cello. Instrumental Read More...

This arrangement for string quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for two violins, viola and cello. Instrumental parts for individual instruments are appended to the full score. Accompaniments are also available allowing the violin 1 player to enjoy ensemble practice in context. There is a one bar eighth note (quaver) click track before the violin 2, viola and cello start to sound. They play back at 80, 84 and 88 eighth (quaver) notes to the minute. It is a late 19th work which can be understood to be updated version of a Bach chorale harmonisation. 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. The cello plays pizzicato except at the end of phrases. 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 untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. String 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. 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 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

This intermediate level arrangement from PlentyMusic of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini is scored Read More...

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

Spanish Dance No.5 (Andaluza) arranged violin and classical guitar

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for violin with classical guitar accompaniment sounding in the key of E minor. A violin p Read More...

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for violin with classical guitar accompaniment sounding in the key of E minor. A violin part is appended to the full score which is available as a pdf. Guitar 2 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. 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 original 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 violin and piano

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for violin with piano accompaniment in the key of E minor. A violin part is appended to Read More...

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for violin with piano accompaniment in the key of E minor. A violin part 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 string quartet

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for string quartet of violin 1, violin 2, viola and cello. Individual parts are appended Read More...

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for string quartet of violin 1, violin 2, viola and cello. 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

Ave Maria arranged violin (higher octave) and piano

In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for violin playing at the higher octave and piano Gounod’s melody is playe Read More...

In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for violin playing at the higher octave and piano Gounod’s melody is played by the violinist while the Bach Prelude No. 1 is played by the pianist. The music is in the original key of C. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. Gounod’s melody if time allows should be internalised so that players they can concentrate on the tonal and interpretative aspects of their performance which in time will enable them to make the movement their own. The performance focus should always be on communicating the beauty of the melody in a legato singing style. The music editor suggests avoiding any exaggerated playing or eccentricities from the ornamentation point of view. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pick-up or anacrusis notes in the section from bar 23 to bar 28. There are as many different endings to the movement as there are performances - deciding how the last 4 notes /4 bars are to be played is a topic in itself. In making a decision players should essentially consider the range of the instrument they are playing. Some of the tied notes can be/and are untied in the closing section particularly by brass players and other instrumentalists playing at a slow tempo. The best advice is to listen to contemporary practice and on the basis of the evidence make your own decision. Rhythmically the accompaniment needs to be played by the pianist in an even and as controlled way as possible. Pianists will need to make use of the sustaining pedal and its use is indicated in the opening bars and the pattern although not indicated should continue through the movement. The best rule to follow when using the sustaining pedal is simply not to over use the pedal 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 arranged violin and piano (lower octave)

In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for violin playing at the lower octave and piano Gounod’s melody is played Read More...

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

Ave Maria arranged violin (lower octave) and classical guitar

In this arrangement from PlentyMusic of the Bach - Gounod “Ave Maria” for violin and classical guitar Gounod’s melody is played by the violinist Read More...

In this arrangement from PlentyMusic of the Bach - Gounod “Ave Maria” for violin and classical guitar Gounod’s melody is played by the violinist at the lower octave option whilst the Bach Prelude No.1 is played by the guitarist. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude in C which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. There are two guitar accompaniments currently available on the PlentyMusic website for the classical guitarist to play. The one that features in this arrangement is a transcription of Bach’s Prelude copied as literally as possible from the original J.S. Bach score although a competent guitarist may choose to edit this when it is appropriate. Rhythmically the accompaniment needs to be played on the classical guitar in an even and as controlled way as possible. 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. Guitar accompaniments are also 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. The guitar accompaniments available in are essentially a copy of the piano accompaniment. 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 arranged violin (higher octave) and classical guitar

In this arrangement from PlentyMusic of the Bach - Gounod “Ave Maria” for violin and classical guitar Gounod’s melody is played by the violinist Read More...

In this arrangement from PlentyMusic of the Bach - Gounod “Ave Maria” for violin and classical guitar Gounod’s melody is played by the violinist at the higher octave whilst the Bach Prelude No.1 is played by the guitarist. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude in C which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. There are two guitar accompaniments currently available on the PlentyMusic website for the classical guitarist to play. The accompaniment that features in this arrangement is a transcription of Bach’s Prelude copied as literally as possible from the original J.S. Bach score although a competent guitarist may choose to edit this when it is appropriate. Rhythmically the accompaniment needs to be played on the classical guitar in an even and as controlled way as possible. There are many different interpretations of the Gounod arrangement particularly as to how the dotted notes are played and the pickup or anacrusis notes in the section from bar 23 to bar 28. Guitar accompaniments are also 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. The guitar accompaniments available in are essentially a copy of the piano accompaniment. 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 arranged violin (lower octave) and classical guitar + TAB

In this arrangement from PlentyMusic of the Bach - Gounod “Ave Maria” for violin and classical guitar Gounod’s melody is played by the violinist Read More...

In this arrangement from PlentyMusic of the Bach - Gounod “Ave Maria” for violin and classical guitar Gounod’s melody is played by the violinist in the lower octave option whilst the Bach Prelude No.1 is played by the guitarist. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude in C which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. There are two guitar accompaniments currently available on the PlentyMusic website for the classical guitarist to play. The first as featured in this arrangement has some of the chord voicing altered enabling it to be played essentially without moving up (or at least too far up) the fretboard. Chords are mostly played in what is described as first position incorporating the first 4 frets on the guitar with the odd exception or two. There is a TAB chart available with this score. The second accompaniment is a transcription of Bach’s Prelude copied as literally as possible from the original J.S. Bach score although a competent guitarist may choose to edit this when it is appropriate. Rhythmically the accompaniment needs to be played on the classical guitar in an even and as controlled way as possible. 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. Guitar accompaniments are also 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. The guitar accompaniments available in are essentially a copy of the piano accompaniment. 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 arranged violin (higher octave) and classical guitar + TAB

In this arrangement from PlentyMusic of the Bach - Gounod “Ave Maria” for violin and classical guitar Gounod’s melody is played by the violinist Read More...

In this arrangement from PlentyMusic of the Bach - Gounod “Ave Maria” for violin and classical guitar Gounod’s melody is played by the violinist at the higher octave whilst the Bach Prelude No.1 is played by the guitarist. There is no definitive edition of the work and there are countless melodic variants so do expect to hear the movement played differently particularly in respect to the last four bars. Gounod’s arrangement has an extra bar (bar 27) than Bach’s original Prelude in C which has a total of 35 bars. In Gounod’s arrangement the first 4 bars are repeated making it 40 bars long without a repeat. There are two guitar accompaniments currently available on the PlentyMusic website for the classical guitarist to play. The first as featured in this arrangement has some of the chord voicing altered enabling it to be played essentially without moving up (or at least too far up) the fretboard. Chords are mostly played in what is described as first position incorporating the first 4 frets on the guitar with the odd exception or two. There is a TAB chart available with this score. The second accompaniment is a transcription of Bach’s Prelude copied as literally as possible from the original J.S. Bach score although a competent guitarist may choose to edit this when it is appropriate. Rhythmically the accompaniment needs to be played on the classical guitar in an even and as controlled way as possible. 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. Guitar accompaniments are also 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. The guitar accompaniments available in are essentially a copy of the piano accompaniment. 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. violin 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 Read 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 violin 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 violinists 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. In this instance violinists players have the option of playing through the repeat an octave higher. 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

Ave Maria arr. violin and classical guitar

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This is an intermediate level violin arrangement wi Read More...

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This is an intermediate level violin arrangement with classical guitar accompaniment in the key of C and available from PlentyMusic as a free sheet music download. It is available as a free score to enable guitarists to feedback to PlentyMusic as to whether or not the chord voicing be modified to make it more playable. The guitar part is notated in staff notation. Classical guitar accompaniments are available playing back at 32, 36 and 40 quarter note (crotchet) beats per minute (bpm). They are available with and without repeats. Players not playing the repeat will need to remember to take the second ending because the repeats are indicated in the sheet music score. If you have any feedback to give about the score or require an accompaniment with a different tempo please contact PlentyMusic either by email or LiveChat. Accompaniments are recorded at 256kbps. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Many performances that are sung 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 of the melody has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggest 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) whilst the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse played as triplets. 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. On the repeat the violin player has the option of playing the melody at the octave. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires greater concentration. 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 have been written out in the video score but are indicated as symbols in the sheet music scores available as pdf download from PlentyMusic. 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. When a movement involves reducing the score, as is the case in this arrangement, it means that some aspects of the music score are omitted. It is worth studying the full vocal score which may clarify some of the challenges that need to be addressed by the arranger. The approach for the violinist should be to keep the melody wherever possible and when appropriate rhythmically independent of the triplet figuration of the accompaniment. Please do let us hear and possibly share your live performances of the arrangement either by sending us a link or an mp3 or mp4 file which can be forwarded to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close

Ave Maria arr. violin and classical guitar + TAB

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This is an intermediate level violin arrangement wi Read More...

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This is an intermediate level violin arrangement with classical guitar accompaniment in the key of C and available from PlentyMusic as a pdf sheet music download.The guitar part is notated in both staff notation and TAB. It is available as a free score to enable guitarists to feedback to PlentyMusic as to whether or not the chord voicing be modified to make it more playable. Classical guitar accompaniments are available playing back at 32, 36 and 40 quarter note (crotchet) beats per minute (bpm). They are available with and without repeats. Players not playing the repeat will need to remember to take the second ending because the repeats are indicated in the sheet music score. If you have any feedback to give about the score or require an accompaniment with a different tempo please contact PlentyMusic either by email or LiveChat. Accompaniments are recorded at 256kbps. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Many performances that are sung 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 of the melody has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggest 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) whilst the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse played as triplets. 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. On the repeat the violin player has the option of playing the melody at the octave. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires greater concentration. 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 have been written out in the video score but are indicated as symbols in the sheet music scores available as pdf download from PlentyMusic. 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. When a movement involves reducing the score, as is the case in this arrangement, it means that some aspects of the music score are omitted. It is worth studying the full vocal score which may clarify some of the challenges that need to be addressed by the arranger. The approach for the violinist should be to keep the melody wherever possible and when appropriate rhythmically independent of the triplet figuration of the accompaniment. Please do let us hear and possibly share your live performances of the arrangement either by sending us a link or an mp3 or mp4 file which can be forwarded to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close

Invitación (Invitation) arr. violin and piano

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for violin and piano is in the original k Read More...

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for violin and piano is in the original key of E minor and features the Cuban habanera pattern. A violin part is appended to the full music score. Piano accompaniments are available playing at 68, 70, 72, 76 quarter note (crotchet) beats to the minute. They are recorded at 256 kbps and the music is played through twice. A click track is used to give the tempo of the movement on the mp3 accompaniment. Note that repeat markings are not shown in the sheet music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the melody line to keep to the best and most appropriate range for the instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly regarding tempo and the use of rubato (speeding up and slowing down) does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close

Invitación (Invitation) arr. string quartet

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

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for string quartet is in the key of Am and features the Cuban habanera pattern. The arrangement is scored for the standard string quartet of 2 violins, viola and cello whilst Individual parts for players are appended to the full music score in the pdf download. It is an excellent piece for ensemble players to help their tuning and intonation by listening to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play absolutely in tune. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the lines to keep to the best and most appropriate range of the instruments. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 64 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly with regard to tempo and the use of rubato (speeding up and slowing down) and does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Should some re-scoring be required 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. violin and piano

Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for violin and piano enables players to develop tone, a Read More...

Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for violin and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for violin 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 is in the original key of E 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. string quartet

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

Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervantes is a movement that explores the habanera pattern. The string quartet arrangement enables players to explore and develop tone, articulation and dynamic range in their ensembleplaying. The arrangement is scored for 2 violins, viola and violoncello. 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 A minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. 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. violin and piano

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for violin with piano accompani Read More...

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for violin with piano accompaniment. It features many of the rhythmic shapes that feature in Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. The solo Instrumental part is appended to the full music score which can be downloaded as a pdf. Piano accompaniments are available playing at tempi of 56, 58 and 60 quarter note (crotchet) beats to the minute and can be downloaded as mp3 files recorded at 256kbps quality. Close

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

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic for string sextet of 3 violins, 2 Read More...

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic for string sextet of 3 violins, 2 violas, and cello is an intermediate level arrangement and available as a free score. It features many of the rhythmic patterns characteristic of Cuban music. It is an excellent movement for encouraging 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 arr. violin and piano D.335

The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this intermediate level arrangement for violin with piano accompanime Read More...

The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this intermediate level arrangement for violin with piano accompaniment is available to download available from PlentyMusic. Whilst the work is described as a Minuet with two Trios only the second Trio has been used in this arrangement. Minuet and Trio are performed without the written repeats sounding in the realisation. In a performance the Minuet and Trio should be performed as follows. Minuet AABB | Trio AABB | Minuet AB. The playback tempo of the music scores is 120 quarter note beats to the bar whilst the Minuet and Trio are played at the same tempo. Legato playing is required in the playing of the Trio section. Many of the melodic ideas from the music from the classical and romantic era can be understood to be almost like conversations and players would be wise to explore the question and answer aspect of this piece. The movement originates as a work for solo piano. The triplet figuration is a prominent feature in the melodic line which has a range of two octaves in essentially a two, three sometimes four-part texture. This an excellent movement for developing the playing of a range of different articulations. Players should explore the dynamic element in their performances exploring contrasting dynamics. A movement with clarity of intention particularly in respect to its rhythmic detail. Regular 8 bar phrases feature predominantly. The pause marks indicated in the sheet music score are an aspect of the score detail that can be explored in a live performance. The compositional basis of much music from the classical era is concerned with the exploration of contrast. This is a feature that can be readily identified in the music of Schubert. There are many arrangements to be discovered on the PlentyMusic website featuring a range of instruments and ensembles. A violin part is appended to the full score which is available as a pdf download from PlentyMusic. Close

Minuet and Trio in E D.335 arr. string quartet

The Minuet & Trio in E by Franz Schubert is an excellent performance piece and this arrangement for string quartet is scored for 2 violins, viola and Read More...

The Minuet & Trio in E by Franz Schubert is an excellent performance piece and this arrangement for string quartet is scored for 2 violins, viola and violoncello. 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 arr. violin and piano D.334

The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schu Read More...

The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score with the falling melodic shape / motif at the end of the Minuet being a lovely challenge for performers to deliver with delicacy and musicality. It is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager! Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. This is one of those hidden gems in the music repertoire that needs to played and become known by instrument players and their audiences. An ideal concert even encore movement. there are many arrangements to be discovered on the PlentyMusic website. A part for the violin is appended to the full score in the pdf download. Close

Minuet in A arr. string quintet of violins 1, 2, 3, viola and violoncello D.334

The string quintet arrangement of the Minuet in A D.334 is available from PlentyMusic as a free score. The full score has appended parts and is availa Read More...

The string quintet arrangement of the Minuet in A D.334 is available from PlentyMusic as a free score. The full score has appended parts and is available as a one file pdf download.The arrangement is scored for Violin 1, Violin 2, Violin 3, Viola and Violoncello. Using the PlentyMusic android app the music could be printed from a smart phone. Schubert’s Minuet D.334 is a hidden gem of the music repertoire that needs to played and become known by instrument players and audiences. If PlentyMusic users would like the movement to be scored for any additional instruments please advise the PlentyMusic Office and one of the team will respond. The Minuet and Trio is performed without the repeats in the Minuet sounding in the video score. A quiet enchanting movement that adds evidence to the suggestion that Franz Schubert was essentially a chamber musician. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver musically and accurately. Whilst a solo work for piano it is very evident that the musical conception could quite easily be for a group of musicians. It is an excellent movement for developing an understanding of a musical texture in the romantic era. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. Another challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Individual instrument parts transposed where appropriate are appended to the full score in the pdf download. Close

Study in Canon No.5 arr. violin, violoncello and piano

A quite vivid movement although one isn’t sure what Schumann is endeavouring to describe although from the music view a march pattern is suggested b Read More...

A quite vivid movement although one isn’t sure what Schumann is endeavouring to describe although from the music view a march pattern is suggested both by the time signature and the musical ideas. The arrangement for violin, violoncello and piano has a playback tempo of 96 quarter note (crotchet) beats to the minute. A canon arises in the description of a musical piece simply because musical ideas are imitated by another voice or instrument. It doesn’t necessarily describe the overall form or structure of a piece. The Study in Canon No. 5 is in three sections ABA’ with Section B beginning at bar 37 and the varied repeat of A at bar 83. The imitation in this movement is shared first between the violin and violoncello and in the final section between the piano and violin. The trio versions are strong simply because the contrasting timbres enable the musical ideas and imitation to be communicated more readily. Understand that the canonic element in Schumann’s time references all the musical elements and not just pitch: dynamics, articulation, ornamentation are all part of the canonic process. The crushed notes or acciaccaturas are a prominent musical feature. This is essentially a study in the articulation of short notes and occasional longer notes. Compositional process is evident from bar 49 where the canonic element involves inversion. This is a challenging music setting to engrave and prepare for print mainly because the score has so much detail which is not easy to represent with clarity on the sheet music page. Accompaniments are available as mp3 downloads featuring the violoncello and piano parts playing at 92, 96, 100 and 104 quarter note (crotchet) beats to the minute. This enables a clarinet player to incorporate ensemble playing into their practice routines. The accompaniments are recorded at 256kbps. Parts for the violin and violoncello are appended to the full score. Close

Study in Canon No. 1 arr. violin, violoncello and piano

Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s orig Read More...

Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s original writing. The rhythmic detail requires some attention particularly with the tied notes across the bar line creating what are syncopated patterns. Pianists may well make of use the sustaining pedal, particularly in the section from bar 25, although its use is not indicated in the sheet in the sheet music score. There are some octave transpositions in the oboe part to keep to the instrument’s range. The trio realisation plays back at 72 quarter note (crotchet) beats to the minute. The tempo indication is to play the movement “Not too quickly” which be played in quite a broad tempo range. In the video score, which can be found by clicking the YouTube link on the home page the ornaments have been written out to add clarity to what often is an ambiguous area. The PlentyMusic solution is not intended to be prescriptive but the suggestions are based on the best of current performance practice. The ornaments can be omitted and this is probably sensible when the movement is first being studied. Accompaniments are available from the PlentyMusic website in mp3 format that enable the violin player to explore the movement as an ensemble piece. Recorded at 256kbps quality they playback at 64, 68, 72, 76 and 80 quarter note beats to the minute. Schumann’s 6 Studies in Canon Opus 56 exist in several arrangements for many different instrument combinations and are well worth exploring particular as an introduction to chamber music playing. Close

Study in Canon No.6 Opus 56 arr. violin, violoncello and piano

T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different ins Read More...

T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different instrument combinations. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to on the trio video scores on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. The final chord should be spread evenly from the lowest to the highest sound in the piano part. 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 oboe 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 cellist and require just the piano sounding in the accompaniment. Close

Study in Canon No.3 Opus 56 arr. violin, violoncello and piano

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The music opens and closes with an Andantino section that plays back at Read More...

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef. The accompaniment downloads available enable players to enjoy an ensemble music experience playing the violin part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a practical solution for players. Close

Study in Canon No. 2 violin, violoncello and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this his original arrangement for violin, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. Parts for both violin and violoncello are appended to the full score. The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 66 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the flute part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in featuring the sound of the woodblock. Close

Study in Canon No. 4 violin, violoncello and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation simply because of personal fa Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation simply because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for violin, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German word ‘Innig’ which means ‘heartfelt’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 72 eighth (quaver) notes to the minute in the first section from bar 1 to 19 and then 80 eighth notes for the remainder of the movement with the occasional slowing down or rit. The performance practice associated with the Study in Canon No. 4 also varies adding further interest to the music’s study. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. Managing the tempo through the playing of the whole piece is one of the challenges of a performance and more than one approach can be employed. The dynamic range is an additional aspect of the performance that can be explored. It is necessary to have an understanding of the strong chromatic element in the music which is particularly evident in the bass line and the chordal accompaniment. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. Players need to pay attention to the rhythmic detail and the chromatic detail. The mordents have been written out in the video score which can be viewed on our YouTube channel although symbols are used in the sheet music score. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. The small decorative notes in the turns in bars 17, 19 and 65 do not sound in the video score or realisation. Instrument players will need to ensure that the reading of the notes and accidentals is accurate as the chromatic element is a strong feature There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. There are many recordings to explore of the trio arrangements and it would be well worth some time listening to a sample of the different versions that exist. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the violon part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 68 eighth (quaver) note beats to the minute in the first section and then 72 eighth (quaver) note beats to the minute from bar 20. Accompaniment 2 plays at 72 eighth (quaver) note beats to the minute in the first section and then 80 eighth (quaver) note beats to the minute. Accompaniment 3 plays at 76 eighth (quaver) note beats to the minute in the first section and 84 eighth (quaver) note beats to the minute. Accompaniment 4 plays at 80 eighth (quaver) note beats to the minute in the first section and 88 eighth (quaver) note beats to the minute. Accompaniment 5 plays at 84 eighth (quaver) note beats to the minute in the first section and 92 eighth (quaver) note beats to the minute. There is a two bar eighth note (quaver) count in to the sound of a woodblock. Close

Spanish Dance No. 2 Opus 12 arr. violin & piano

In this arrangement for violin with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note ( Read More...

In this arrangement for violin with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quarter note (crotchet) beats a minute in the first and last A section and 150 in the middle B section. The first section could be played at a slower or quicker tempo and likewise the middle section. The movement needs to be played with a one in a bar feel and features the triplet figuration that is so characteristic of Spanish music. Players should endeavour to communicate the charm and intimacy of the music whilst the melody and accompaniment need to be articulated with clarity and consistency. The movement is in ABA ternary form and has a regular 8 bar phrase structure. In fact each of the main sections are in ternary form so analysis of the movement reveals a structure that can be represented as A (a b a) B (c d c) A (a b a). Octave transpositions are in place where appropriate and chord voicings in the accompaniment have been occasionally edited. The melody is also presented as a single note line. Tempo rubato is something that can be embraced in a performance but has not been used in the realisation and playback. Similarly, the sustaining pedal can be used although its use is not indicated in the sheet music score. The slowing downs that feature at the end of phrases are also not marked in the score. This is music intended for performance in the early 20th century drawing room. This colourful movement exists in several chamber and orchestral arrangements. Moszkowski is a composer whose brilliant piano pieces in particular are worthy of attention although much of the music is technically very challenging. Piano accompaniments are available playing at the following tempi (1) 144/144/144 (2) 138/150/138 (3) 135/144/135 (4)126/138/126. The numbers simply refer to the number of quarter note/crotchet beats to the minute referencing the ABA structure. If you require a more bespoke accompaniment please advise the PlentyMusic office and we will create and upload it for you. The small ornamental notes that sound in the realisation are probably best omitted certainly in the early stages of learning the piece. Close

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

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

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

It’s A Date

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

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

Manchega arr. violin & 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 Read More...

Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. The playback tempo in the playback score is 60 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in D and the B section in F. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. The use of the piano sustaining pedal is recommended for the accompanist but is not indicated in the score. The music of Gottschalk is influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the dynamics, tonal range and articulation 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 ready access to the music. A violin part is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts aka working hard. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Close

Mi Teresita (Little Waltz) arr. violin & 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 spi Read 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 violin accompanied by the piano the sounding key is D. Violin 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 featured in the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A violin part 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 arr. violin, marimba & acoustic guitar

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin accompa Read More...

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the violin player to develop both control and quality of tone in their playing. The accompaniment comprises marimba and acoustic guitar with off-beat or syncopated chords adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece. Close

None but the Lonely Heart arr. violin & two acoustic guitars

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin and two Read More...

None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the soloist to develop both control and quality of tone in their playing. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 92 (2) 90 (3) 88 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music and the music editor suggests that this is an excellent assessment piece. Close

None but the Lonely Heart arr. violin & piano

None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German r Read More...

None but the Lonely Heart originates as a song dating 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 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. Violin players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. 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 violin part is appended to the sheet music score. Close

First Movement from Sonata in G arr. violin & 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 Read 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 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 accompanist does need to make use of the sustaining pedal 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 violin part 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. violin & acoustic guitar

An arrangement for violin accompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is Read More...

An arrangement for violin accompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase requiring a singing legato tone when performed. 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 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 described as an improver level piece the guitar player’s part is obviously harder than the flute players. There are three guitar accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close

Sweet Dreams arr. violin & 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 Read 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. Violinists may wish to try performing with a mute. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a violin part 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. violin & 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 Read 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 original version for violin 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 instrument 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 has suggested pedalling for some parts of the movement but the guiding principle is that pedalling relates very much to changes in the bass note. The repeats are not played in the realisation. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A violin part 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. violin & acoustic guitar

An arrangement for violin and acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back a Read More...

An arrangement for violin and acoustic guitar of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 66 quarter note beats to the minute in the realisation and the faster B section at 108 quarter note beats to the minute. The music has a regular 4 bar phrase structure and there are some chromatic elements in the writing. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The melodic and rhythmic shapes of the movement are both strong and although concisely written there is plenty of contrast. It is an excellent performance piece with the opening melodic shape having an almost teasing quality. There is always a sense of movement in Grieg’s writing and the ranges of colour in his harmonic writing make his music eminently suitable to being played by many different combinations of instruments. The humour in the music also invites an exaggerated performance although this is not featured in the realisation. Players should listen to performances to form their own view and explore different approaches to interpreting the music. Grieg’s Norwegian Dance No.2 was published in 1880 as a piano duet or more correctly music for piano four hands. Grieg was fortunate in being able to access several folk music collections and much of this collected material was incorporated into arrangements and compositions. Acoustic guitar accompaniments are available with the following tempo options (1) 64/108/64 (2) 66/112/66 (3) 68/112/68 Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close

Norwegian Dance No.2 arr. violin & piano

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

An arrangement for violin and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 68 quarter note beats to the minute in the realisation and the faster B section at 112 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. Accompanying pianists have a number of different techniques that they can 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 oboe melody line. 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 violin part 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. violin & 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 Read 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 tuba 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 57 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 violin part transposed is appended to the full score. Close

Tarantella arr. violin & acoustic guitar

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

A tarantella is a fast energetic traditional folk dance in 6/8 time. It has a characteristic upbeat and is associated with strong emotions and passions in the many forms of the dance that exist. Some examples of the dance explore the supernatural and others magic and spirituality. Its origins are a dance for couples from Southern Italy with tambourines frequently used to accompany the dancers. This particularly arrangement for violin and acoustic guitar has 4 strains of music ABCD with each strain repeated. The playback tempo is 110 dotted quarter note beats to the minute. There are many melodic variants and arrangements of this music. Chopin, Gottschalk, Britten and others have also contributed music to the tarantella repertoire. . Guitar accompaniments can also be downloaded to provide an ensemble experience. These are at tempi of (1) 110 quarter note (crotchet) beats to the minute (2) 100 quarter note (crotchet) beats to the minute and (3) 90 quarter note (crotchet) beats to the minute. Close

Shenandoah arr. string 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 Read 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 string quartet of 2 violins, viola and violoncello sounding in the key of D. The playback tempo is 84 quarter note beats to the minute and individual parts are appended to the full score. The violin 1 has the option of playing the repeat at the octave. Close

Shenadoah arr. violin & acoustic guitar

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 Read 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 violin accompanied by acoustic guitar. The playback tempo is 84 quarter note beats to the minute and violinist has the option of playing back the repeat at the octave. Close

Shenadoah arr. violin & acoustic guitar + TAB

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 Read 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 violin accompanied by acoustic guitar. The playback tempo is 84 quarter note beats to the minute and violinist has the option of playing back the repeat at the octave. This score has the acoustic guitar part in both conventional notation and TAB. Close

Shenandoah arr. violin & 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 Read 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 violin accompanied by piano with the violinist having the option of playing the repeat at the octave. The playback tempo is 84 quarter note beats to the minute and a violin part is appended to the full score. Close

La biondina in gondoleta arr. violin & acoustic guitar

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

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for violin accompanied by acoustic guitar sounding in the key of G with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. This is an excellent performance piece because the melody is appealing and familiar. The violin player has the option of playing the repeat at the octave although this is not indicated in the score. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. Close

La biondina in gondoleta arr. violin & 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 Read More...

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

When The Saints Go Marching In arr. violin, acoustic guitar and bass guitar (with TAB)

When The Saints Go Marching In arranged for violin, acoustic guitar and bass guitar in the key of D. The playback tempo is 100 half note or minim bea Read More...

When The Saints Go Marching In arranged for violin, acoustic guitar and bass guitar in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the bass player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. The violinist has the option of playing the repeat at the octave as indicated in the score. Chords have also been indicated in the guitar score and there is a TAB score for the bass guitarist. Individual parts are also appended to the full score. The accompaniment mp3 features a string bass in the playback. Close

When The Saints Go Marching In arr. violin & piano

When The Saints Go Marching In arranged for violin and piano in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst Read More...

When The Saints Go Marching In arranged for violin and piano in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the 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 violin part is appended to the full score. A piano accompaniment is also available. Close

Nel cor più non mi sento arr. violin & 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 Read 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 violin part is appended to the full score. Close

The Happy Farmer arr. violin, acoustic guitar & string bass

A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting mo Read More...

A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for violin accompanied by acoustic guitar and string bass. There is a two bar click count in on the accompaniment track. A bass guitar can be used if available. Close

The Last Rose of Summer arr. violin & acoustic guitar

This traditional Irish melody associated with the early 19th poem written by Thomas Moore is suited to being played by a solo instrument with an accom Read More...

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

The Last Rose of Summer arr. violin & 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 Read More...

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

The Prophet Bird arr. violin & piano

This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “ Read More...

This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “Bird of Prophet” or “The Prophet Bird.” It is an impressive piece in ABA (ternary form) and has been arranged for violin and piano. The tempo indication in German is Langsam, sehr zart which translates as Slowly, very tenderly. The music has a haunting quality and offers challenges for both for the violinist and accompanist making it a very good test piece. The playback in the realisation is a little on the tense side and does not explore tempo rubato which at this time was an aspect of performance practice. Poise and control are needed in a performance whilst all the shapes need to be practiced for accuracy and shape. This is a music score that offers many challenges to players. The tempo in the realisation is 60 quarter note beats although there is opportunity to slow down at the end of phrases. The trill has been written out on an ossia stave in the sheet music score. The sustaining pedal has been indicated in the score but minimal use is suggested. This is a work that challenges the performers to make it their own in the sense that from the first note to the last both the players and the listeners must be captivated. It is a piece where it very easy for the music to be lost on the journey of a performance. It is important for players have a clear understanding of the rhythmic notation and intention - 3 thirty-second notes (demisemiquavers) are to be played in the time of one sixteenth note (or semiquaver). The music editor suggests that at the end of bar 18 the tempo is slowed and again at the end of bar 23 before the return to Tempo I at bar 25. This arrangement keeps as close to Schumann’s score copy as possible. A violin part is appended to the full score. Close

Pieds-en-l’air arr. violin & 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 Read 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 realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. A violin 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

Pieds-en-l’air arr string group

This is an excellent piece for developing legato playing and instrument tone and the arrangement is for violins divided into parts I and II viola and Read More...

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

Evening in Transylvania arr. violin & piano

This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Read More...

This piece known as Evening in Transylvania and also Evening in the Village (Este a székelyeknél) is from the composer’s piano collection Ten Easy Pieces. There are two original melodies one played slowly with rubato and the other played quickly and in strict time. Essentially whilst working in the folk music idiom Bártok remains loyal to the classical principles of contrast in music by exploring two different ideas. Bártok is always very precise about the articulations that he requires in his music and players need to take notice of the dynamics which are notated in all clefs. The rhythmic purpose of his music is always very strong whilst delivery of the melody needs to be quite fluid in the rubato section the music it nevertheless needs to be delivered with a strong sense of pulse. From bar 42 the music texturally is notated and conceived in four parts. In the realisation the tempo is 76 quarter note (crotchet) beats in the lento rubato sections and 132 quarter note (crotchet beats) beats in the Vivo, non rubato sections. The realisation lacks a little rhythmic flexibility at the ends of phrases in the rubato sections and the music editor suggests that listening to a number of performances will be helpful in coming to an understanding of how this music should be performed. Accompanists will want to make use of the sustaining pedal although this has not been indicated through the entirety of the score although the music editor suggests minimal use as modern instruments are tonally much stronger that those of the composer’s own time. Bártok considered the piano to be a percussion instrument as a composer and many of his folk style music arrangements explore the modal element that is so characteristic of folk music and his accompaniments make use of ostinatos. Bártok is one of the greatest 20th century composers and made a significant contribution to the repertoire. As a composer he worked on small canvasses as well as large ones and frequently ideas were transferred from the small to the large. This particular piece was transcribed by the composer into the first of his Hungarian Sketches for orchestra. He was Hungarian by birth and was important collector of folk music and one of the founders of the relatively new subject of ethnomusicology. He has something in common with Schubert in that both of them were very creative towards the end of their lives. Bártok left Europe in 1940 to settle in the U.S.A. but his health declined and he died from leukaemia in 1945 sadly before many of his concert hall works had become well known and recognised as great works. Rubato is defined as the temporary disregarding of strict tempo to allow an expressive quickening or slowing down, usually without altering the overall pace. It is a playing approach particularly associated with the music of Chopin. A violin part is appended to the music score. Close

Neapolitan Song arr. violin & acoustic guitar

This is an improver level arrangement for violin and acoustic guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Read More...

This is an improver level arrangement for violin and acoustic guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is based on the version found in Tchaikovsky’s Children’s Album Opus 39 for piano that dates from 1878. The tempo of the first section Andantino in the realisation is 100 quarter note (crotchet) beats to the minute and for the Vivace section the tempo is 120 quarter note beats to the minute. The voicing of the chord shapes for the acoustic guitar have been edited. Close

Sururú na Cidade arr. violin, acoustic guitar & string/upright bass

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Read More...

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century Rio de Janeiro (Chôrinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. In this arrangement for mandolin, acoustic guitar and string/upright bass individual parts are appended to the full score. There are particularly instruments associated with the performance of this style of music namely the flute, guitar and a small type of guitar originally from Portugal with 4 strings known as the cavaquino or Portuguese ukulele which may play either a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. In this arrangement for violin, acoustic guitar and upright/string bass individual parts for the three instruments are appended to the full score. The acoustic guitar part plays a combination of countermelodies and chords. Close

Sururú na Cidade arr. violin with piano accompaniment

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can Read More...

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A and understood to be in rondo form. The realisation plays back at a tempo of 92 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece of music. A violin part is appended to the full score. Close

No Bailes Más! (Dance No More) arr. violin with piano accompaniment

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 Read More...

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

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

In this arrangement for string quartet the specified instruments are 2 violins, viola, tenor and violoncello. The score is formatted as a one document Read More...

In this arrangement for string quartet the specified instruments are 2 violins, viola, tenor and violoncello. The score is formatted as a one document pdf file with Individual parts for the four string instruments appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D 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. Close

Off To California arr. violin & violoncello

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

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep them fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played and there is no ornamentation of the melodic line in this two part version. The violinist may want to play the repeats at the octave and the playback sound of the violoncello is a pizzicato sound which the player can of course change especially if repeats are played. Folk music scores are generally presented with minimal score detail as is the case in this score. Understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the violoncello playing the bass line at tempi of (1) 132 (2) 120 and (3) 110 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close

Swing Low, Sweet Chariot arr. violin & acoustic guitar

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 Read 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 violin and acoustic guitar 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. The violin player has the option of playing the repeat of the chorus at the octave. Close

Swing Low, Sweet Chariot arr. violin & piano

This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arra Read More...

This is a very popular piece of music that in many respects transcends idiom, style & at times it could be suggested culture. This improver level arrangement for violoncello and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played & 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 violinpart is appended to the full score whilst the player has the option of performing the repeat of the chorus at the octave. Close

Skye Boat Song arr. violin & piano

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Read More...

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time. 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 violinist has the option of playing the repeat of the chorus an octave higher. The repeat does not sound in the realisation whilst a violin 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

Scarborough Fair arr. violin & piano

An arrangement for violin and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats Read More...

An arrangement for violin and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and whilst octave playing is explored it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A viola part is appended to the full score. The three accompaniment options have tempi of I) 150 2) 144 and 3) 138 quarter note (crotchet) beats to the minute which can be alternatively looked at as being 1) 50 2) 48, and 3) 46 dotted half notes (minims) to the minute. If you are confused the music editor understands completely but the best advice is to play with a one to a bar feel. Close

Le Banjo arr. violin & piano

Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the ag Read More...

Louis Moreau Gottschalk was an American composer and pianist who worked mainly outside the U.S.A. Born in New Orleans he travelled to Europe at the age of 13 to study music. Much of the early music he composed was based on music he remembered from his childhood in Louisiana where he was exposed to a variety of musical traditions. From the 1860’s he was regarded as the best known pianist from the New World and his talent was recognised by both Chopin and Liszt. A tempo of 100 quarter note beats to the minutes is used in the realisation of “Le Banjo” which dates from 1853 whilst the piece needs to be played with a very even tempo with the piano being played quite percussively. The tied notes need to be carefully identified in both the melody and bass line where the acciaccaturas (crushed notes) are used to recreate the “hammer on” technique used by players of fretted instruments. The term Ardito means bold whilst Ben misurato indicates that the music needs to be played in a strict tempo and the term martelltato is an indication that the notes are to be strongly accented. Whilst this is a cut down and simplified version of the work the original in the key of F sharp major is often played by piano virtuosi as an encore. The sustaining pedal hasn’t been indicated in the score but limited use may be considered. In this arrangement for violin and piano in the key of G the intended playing context is for the music to be presented as a concert item for intermediate level players. Stephen Foster’s Camptown Races is referenced both at the beginning and the end of the arrangement whilst the trills in bar 75 start on the note. A solo violin part is appended to the full score. There are three accompaniments available playing at (1) 104 (2) 100 and (3) 96 quarter note (crotchet) beats to the minute. Close

Czardas arr. violin & acoustic guitar

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Read More...

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the section between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! There are two acoustic guitar accompaniments available (1) with repeats and (2) without repeats. Close

Czardas arr. violin & piano

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Read More...

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! The harmonics sound at pitch but the limitations of the sampling library means that true harmonics are not being sounded. A violin part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close

Santa Lucia arr. violin & piano

Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in Read More...

Santa Lucia has its origins as a Neopolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. 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 violin part is also appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close

Fantasy Piece No.1 arr. violin & piano

Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Read More...

Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 80 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A violin part is appended to the full score. Accompaniment 1 plays at 88 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 80 quarter note beats (crotchet) to the minute. Close

The Swan arr. violin & 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 Read 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 violin part is appended to the full score. There are four accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet) beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded. Close

Sicilienne arr. violin & piano

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

A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing scores the most appropriate range of the solo instrument is explored and consequently different arrangements explore different octave ranges. The sustaining pedal is required when playing the accompaniment and has been indicated in the first two pages of the full score. The accompanist has the choice of whether or not to spread the chords in bar 42 and 43. The realisation plays at a tempo of 50 dotted quarter notes to the minute. A violin is appended to the full score but the con sordina instruction at bar 69 is not actioned in the realization. Quite a challenge to determine an appropriate tempo in what is music generally played with fluidity and rubato although Fauré himself was regarded as something of a metronome when accompanying singers! The music editor has the view that the movement is often played too quickly. Accompaniments are available at (1) 58, (2) 54 and (3) 50 dotted quarter note (crotchet) beats to the minute. There is a four bar count in to assist the soloist. For any player requiring a bespoke accompaniment please mark a music score with all the detail that you require regarding tempo and dynamics and forward to the PlentyMusic team. We will endeavour to provide a solution.Just drop your edited music score as an image or pdf to the PlentyMusic office. Close

Cantabile arr. violin, acoustic guitar & bass

This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers t Read More...

This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers to explore tonal range of an instrument. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. Individual parts are appended to the full score Close

Cantabile arr. violin & guitar

This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the o Read More...

This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of the violin. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. Close

Cantabile arr. violin & piano

This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the o Read More...

This is an excellent piece for a solo instrument player because it is challenging to play both from the pitch range the player has to manage and the opportunities it offers to explore tonal range of the violin. Triplets are shown in the solo instrument part but only in the first two bars of the piano accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. A violin part is appended to the full score. Close

Berceuse (Dolly Suite) arr. violin & piano

A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A be Read More...

A charming and quite beautiful piece which has been arranged for many different instrument combinations although its origins are as a piano duet. A berceuse is a lullaby or cradle song so a gentle lilting approach is a required with nothing happening abruptly. The realisation plays at 66 quarter note beats to the minute. When performing this music there is an opportunity to slow down at the ends of phrases and then return to tempo at the start of the next phrase. Markings to indicate this are not included in the score. Pedalling has been indicated in the score. The sustaining pedal is put down as the first sound at the beginning of the bar is being played and lifted on the second beat of the bar. Additional pedalling can be added even though it might not be indicated on the score but it should never muddy the texture and lines of the music. The modal element that features in much of Faure's music is also evident. The solo violin part is marked con sordino although this doesn't feature as the sound in the realisation - the solo part is also appended to the full score. Piano accompaniments are also available. Accompaniment 1 plays at 64 quarter note beats (crotchet) to the minute, Accompaniment 2 at 68 quarter note (crotchet) beats to the minute and Accompaniment 3 at 72 quarter note beats (crotchet) to the minute. Close

October (Autumn Song) arr. violin & piano

October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Read More...

October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same meaning with modern instruments. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be longer whilst the small notes do not sound in the playback the recording. The editor suggests listening to many of the excellent performances of this work. A violin part is appended to the full score. Piano accompaniments are available at tempi of (1) 63 (2) 60 (3) 58 quarter note (crotchet) beats to the minute. If an accompaniment is required with a click track in place for the cadenza section in bars 32 – 33 please advise the PlentyMusic office. Close

Serenade (Petite Suite) arr. violin & 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 Read More...

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

The Easy Winners arr. violin & piano

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

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for violin and piano the sounding key is G. The realisation tempo is 76 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. violin & piano

This arrangement for violin with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly re Read More...

This arrangement for violin 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 to the parts. 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 which, dates from 1881, has been incorporated into the arrangement although the appoggiaturas that appear in the original string quartet version have been omitted. A violin part is appended to the full score. Close

Plaisir d’amour arr. violin & piano

This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Read More...

This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option. This is an excellent piece of music to explore performing music at a slow tempo as it very easy for instrumentalists to play a melody too quickly. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument I would suggest listening to a number of recordings of performances particularly by singers to gain an understanding of how music can be delivered and also understand how arrangements can differ. A solo violin part is appended to the full score whilst the small acciaccatura (crushed notes) do not sound in the realisation. Close

Plaisir d’amour arr. violin & acoustic guitar in G

This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A Read More...

This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of just 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option. This is an excellent piece of music to explore performing at a slow music tempo. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. Listen to a number of recordings of performances particularly by singers to gain an understanding of how music can be arranged. The small acciaccatura (crushed notes) do not sound in the realisation. Close

Après un rêve arr. violin & 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 Read 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. A tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation and in this arrangement in the key of D minor the thematic material is explored an octave lower for the eight bar section beginning at bar 17. There is also an octave option towards the end of the movement which is given on an ossia staff. 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 context. A solo violin 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. violin & 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 Read 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. A tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation and in this arrangement the thematic material is explored an octave higher in the varied repeat beginning at bar 17. 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 context. A solo violin 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

Jeanie with the light brown hair arr. violin, viola & violoncello

This is an arrangement for string trio comprising violin, viola and violoncello of a parlour song by Stephen Foster dating from 1854 and whilst it h Read More...

This is an arrangement for string trio comprising violin, viola and violoncello of a parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. The small ornamental notes, apart from the acciaccaturas (crushed notes), in the melody line of the arrangement are optional and do not sound in the realisation. Individual instrument parts are appended to the full score. Close

Jeanie with the light brown hair arr. violin & 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 Read 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 violin part is appended to the full score. Close

Valse arr. violin & piano

The Waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Read More...

The Waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. An appended solo violin part is attached to the full score. Close

Theme and Variations arr. violin & piano

Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic m Read More...

Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. A solo violin part is appended to the full score. Close

Cantabile arr. violin & piano

Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous Read More...

Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. The solo violin part is appended to the full score. Close

Dedicatoria arr. violin & piano

A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for violin accompanied by piano, the tempo of the realisat Read More...

A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for violin 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. 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

Traümerie arr. violin & piano

Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Read More...

Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close

Spring Song arr. violin, acoustic guitar & violoncello

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

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

Spring Song arr. violin & acoustic guitar

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

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

Spring Song arr. violin & 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 Read More...

A joyous and uplifting movement both for the player and the listener. A tempo of 84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. 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 editor's preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Close

Tango in D arr. violin & piano

This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrumen Read More...

This is a quite charming and atmospheric salon piece dating from the 1890's suited to being played by a number of different instruments and instrument combinations. It features the habanera patternin the accompaniment often combined with a colourful melody line notated in triplets. The modal shift to flat 6th is also very suggestive of Spanish music as is the general compositional model. A tempo of 63 quarter notes to the minute is used in the realisation although tempo wise there is scope slowing down and speeding up when it is appropriate and this is reflected in the realisation. This is a an excellent piece for developing sensitive ensemble playing. The solo violin part is appended to the full score. Close

Waltz in A minor arr. violin & acoustic guitar

A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs Read More...

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

Waltz in A minor arr. violin & piano

A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece need Read More...

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

The Little Shepherd arr. violin & piano

The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to those Read More...

The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to those encountered in his more complex works. His music whilst often sounding simple is always challenging from a performance point of view and there are many aspects of performance to consider when playing his music - namely attention to rhythmic detail, tempo, dynamic range, use of pedals, interpretation of ornaments, amongst others. This arrangement for violin with piano accompaniment is of the fifth movement of the piano suite published in 1908. The suite dedicated to the composer's daughter Chou-Chou has score detail in French and an English title which was possibly chosen to reflect that an English governess was employed to look after his child. The realisation which communicates the musical content satisfactorily does lack fluidity in repect to tempo. Debussy's sound world is individual and while he was not someone who followed musical convention, he, more than any other composer at the end of the 19th century pushed open the door to absorb new musical influences. I would recommend listening to several performances of the work to gain an understanding of how best to approach a performance. Close

Minuet in F K2 arr. violin & cello

Mozart's Minuet in F in an arrangement for violin and cello in the original key of F. Mozart's example is of a simply structured binary form movement. Read More...

Mozart's Minuet in F in an arrangement for violin and cello in the original key of F. Mozart's example is of a simply structured binary form movement. The minuet is a dance of French origin in 3/4 time and in an expanded form became important in the Classical era by often being incorporated into many symphonies. The K numbers associated with Mozart scores refers to the Köchel or catalogue numbers that describe the chronologically order of his compositions. This catalogue was created some fifty years after the composers death and K2 understandably is his second published work composed when he was 6. Close

Mvt 1. Divertmento No.3 arr. violin, viola & violoncello

In this arrangement for violin, viola and violoncello the sounding key is G. A tempo of 132 quarter note (crotchet) beats to the minute is recommen Read More...

In this arrangement for violin, viola and violoncello the sounding key is G. A tempo of 132 quarter note (crotchet) beats to the minute is recommended. Individuals instruments parts are appended to the full score. This movement demonstrates the essential elements of Mozart's compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive to style. The Divertimenti (and the related Viennese Sonatinas) are relatively easy works that are well worth exploring. Close

Andante in C from Keyboard Sonata No. 10 arr. violin, viola & violoncello

A graceful movement from one of Haydn's early keyboard sonatas (Hob.XVI/I) with a melody that very much captures the spirit of the classical age. The Read More...

A graceful movement from one of Haydn's early keyboard sonatas (Hob.XVI/I) with a melody that very much captures the spirit of the classical age. The melody needs to be played in a flowing and even manner style and played at a tempo in which the music is does not seem to be rushed. The appeal of the music is very much in its simplicity whilst a tempo of 42 quarter notes (crotchet) beats to the minute is suggested. The balance between the instrumental parts could possibly be improved in performance and more attention paid to the ends of the phrases which are not as well shaped in the realisation as they possibly could be. In the realisation a consistent approach to the interpretation of the ornaments is the intention but there are other solutions and additions that can be made. Performers of this work often vary and add additional ornaments in the the repeat sections and consequently no two performances of the movement are interpretated in the same way. The ornaments in this version are written out in an ossia staff but can always be omitted in the early stages of learning the piece. Close

Andante in C from Keyboard Sonata No. 10. arr. violin & acoustic guitar

A graceful movement from one of Haydn's early keyboard sonatas (Hob. XVI/I) with a melody that very much captures the spirit of the classical age. The Read More...

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

Celibrated Minuet arr. violin & viola

This intermediate version for violin and viola playing pizzicato features the only first minuet of Boccherini’s Minuet and Trio from his String Read More...

This intermediate version for violin and viola playing pizzicato features the only first minuet of Boccherini’s Minuet and Trio from his String Quintet Opus 11 No.5. In this two part arrangement the musical texture has been simplified into melody and accompaniment. The ornaments have been written out in full to assist players although I would suggest that they are perhaps omitted in the early stages of learning the piece. The movement requires a very consistent approach which will be a challenge to players inexperienced in performing music from this era. A tempo of 100 quarter note (crotchet) beats to the minute is recommended. Close

Celibrated Minuet arr. violin & violoncello

This intermediate version features the only first minuet of Boccherini's Minuet and Trio from his String Quintet Opus 11 No.5. In this two part arrang Read More...

This intermediate version features the only first minuet of Boccherini's Minuet and Trio from his String Quintet Opus 11 No.5. In this two part arrangement for violin and cello playing pizzicato the musical texture has been simplified into melody and accompaniment. The ornaments have been written out in full to assist players although I would suggest that they are perhaps omitted in the early stages of learning the piece. This movement a very consistent approach which will be a challenge to players inexperienced in performing music from this era. A tempo of 100 quarter note (crotchet) beats to the minute is recommended. Close

Rondo from Sonatina in G arr. violin viola & violoncello

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for violin viola & cello of the fi Read More...

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for violin viola & cello of the first section of the piece, the melody is played by the violin while the chords and bass are played by the viola and cello respectively. A tempo of 110 quarter note (crotchet) beats to the minute is suggested. The rondo was composed by Clementi, known in his own time as a teacher, composer, performer and even as a manufacturer of pianos spending most of his adult life living in England. His Opus 36 Sonatinas are a rich source of music for piano players. A rondo is a piece with a recurring theme although only the A or first section is featured in this improver level arrangement intended to introduce players of these instruments to ensemble playing. Close

Rondo from Sonatina in G arr. string trio

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this easy arrangement for violin, viola and cello, Read More...

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this easy arrangement for violin, viola and cello, of the first section of the piece, the melody is played by the violin while the arpeggio chords are played by the viola accompanied by a cello playing a bass line. A gentle tempo of 100 quarter note (crotchet) beats to the minute is suggested and the violin has the option of playing the melody up an octave on the repeat. The rondo was composed by Clementi, known in his own time as a teacher, composer, performer and even as a manufacturer of pianos spending most of his adult life living in England. His Opus 36 Sonatinas are a rich source of music for piano players. A rondo is a piece with a recurring theme although only the A or first section is featured in this improver arrangement intended to introduce string players to ensemble playing. There is also another version of this piece for this same instrument combination which is longer and also played at a faster tempo. Close

Minuet in G WoO 10 No.2 arr. violin & piano

A very appealing and familiar movement from the treasure trove of Beethoven's works WoO (Without Opus number) Originally composed for orchestra, the m Read More...

A very appealing and familiar movement from the treasure trove of Beethoven's works WoO (Without Opus number) Originally composed for orchestra, the manuscript was lost and the music has essentially been reconstructed from a piano arrangement. It is a melodic, humorous and characterful movement and this version is for violin with piano accompaniment. In performance the Minuet is played with repeats followed by the Trio section marked più mosso again with repeats. Finally, the first Minuet is repeated but this time without repeats. A rit. (slowing down) at the end of the two main sections (minuet and trio) is appropriate. The music editor urges those auditioning this piece to listen to many performances featuring different soloists get a clear vision of how the movement can and should be played. It is a Beethoven piece that frequently is played badly. A tempo of 110 quarter note (crotchet) beats to the minute is suggested for the first Minuet section and a tempo of 120 quarter note (crotchet) beats to the minute is suggested for the Trio section marked più mosso. Accompaniments are available for this score with a four bar count in played on a two sounds of the wood block. Because of the tempo changes and the upbeat in the solo part there is a two beat click between the sections. Wood block sounds are recorded on one side of the stereo channel so that the sound can be silenced. Accompaniment 1 has a tempo of 104 quarter note (crotchet) beats for the Minuet and 110 for the Trio section, Accompaniment 2 has a tempo of 108 quarter note (crotchet) beats for the Minuet and 116 for the Trio section, Accompaniment 3 has a tempo of 110 quarter note (crotchet) beats for the Minuet and 120 for the Trio section. This score was reviewed, revised with accompaniments added in 2020. A violin part is appended to the music score. Close

Romanze arr. violin, viola & violoncello

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 violin plays the melody w Read 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 violin plays the melody whilst the viola accompanies playing broken chords with the cello providing an outline bass line. A tempo of 66 dotted quarter beats to the minute is recommended and the music sounds in the key of G. This is a very good example of music described as drawing room or salon music. Close

Vivace arr. violin & viola

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishin Read More...

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishing and the manufacture of pianos. This arrangement for violin and viola is from one of his Opus 36 sonatinas for piano. This particular piece has been selected to encourage fast playing and the realisation has a tempo of 72 dotted quarter note (crotchet) beats to the minute. Vivace is Italian for lively. Close

Vivace Arr. violin & cello

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishin Read More...

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishing and the manufacture of pianos. This arrangement for violin and cello is from one of his Opus 36 sonatinas for piano. This particular piece has been selected to encourage fast playing and the realisation has a tempo of 72 dotted quarter note (crotchet) beats to the minute. Vivace is Italian forlively. Close

Serenade arr. string trio of violin, viola & violoncello

This is a three part arrangement for string trio comprising violin, viola and cello player of this familiar piece from the string quartet repertoire. Read More...

This is a three part arrangement for string trio comprising violin, viola and cello player 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

The Good Time’s Rag arr. violin & violoncello

An arrangement for violin and cello of this piece intended to introduce players to the musical elements that feature in ragtime. The violin plays the Read More...

An arrangement for violin and cello of this piece intended to introduce players to the musical elements that feature in ragtime. The violin plays the melody whilst the cello 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. Close

Wilson’s Rag arr. violin & piano

An arrangement of this ragtime waltz for violin accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is Read More...

An arrangement of this ragtime waltz for violin accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. Close

Wilson’s Rag arr. violin, acoustic guitar & double bass

An arrangement of this ragtime waltz for violin, acoustic guitar and double bass The acoustic guitar chords are notated with both chord symbols/diagra Read More...

An arrangement of this ragtime waltz for violin, acoustic guitar and double bass The acoustic guitar chords are notated with both chord symbols/diagrams and the notes to be sounded in staff notation. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 100 quarter note (crotchet) beats to the minute is used in the realsation which some players might find just a little on the slow side. Close

The Entertainer arr. violin & acoustic guitar

In this arrangement for violin with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is r Read More...

In this arrangement for violin with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is recommended whilst the solo instrument part is appended to the full music score. Players may well want to challenge the intermediate level that has been given for this piece because it may well be better described as being at an advanced level. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite challenging to play. Close

The Entertainer arr. violin, acoustic guitar & double bass

In this trio arrangement for violin, acoustic guitar and string/upright/double bass a tempo of around 72 quarter note (crotchet) beats to the minute i Read More...

In this trio arrangement for violin, acoustic guitar and string/upright/double bass a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close

The Entertainer arr. violin & acoustic guitar

In this duo arrangement for violin and acoustic guitar a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin's Read More...

In this duo arrangement for violin and acoustic guitar a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin's The Entertainer which he described as A Rag Time Two Stepwas composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close

El Choclo arr. violin & violoncello

An atmospheric two part arrangement of this familiar tango piece and probably quite a challenge for an improver level violinist. A tempo of 60-66 quar Read More...

An atmospheric two part arrangement of this familiar tango piece and probably quite a challenge for an improver level violinist. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Ángel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. The English translation of El Choclo is the "The Ear of Corn". Close

El Choclo arr. violin & piano

This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn."This arrangement for violin with piano accompa Read More...

This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn."This arrangement for violin with piano accompaniment sounding in D minor has the solo instrument part with the appropriate transposition appended to the full music score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adapable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Ángel Villoldo (1861 - 1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close

El Choclo arr. violin, acoustic guitar & double bass

This very popular tango dates from 1903. The English translation of El Choclo is the The Ear of Corn. A tempo of 60-66 quarter note (crotchet) notes Read More...

This very popular tango dates from 1903. The English translation of El Choclo is the The Ear of Corn. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. An adapable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Guitarists have the option of changing the chord positions on the fretboard to alter the chord voicing and improve the ensemble. The double bass is to be played pizzicato throughout the arrangement and can be substituted by bass guitar or an acoustic bass guitar. Ángel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close

La Paloma arr. violin & cello in D

This improver level two part arrangement is for violin and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute Read More...

This improver level two part arrangement is for violin and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

Soirée Polka arr. violin, acoustic guitar & double bass

The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Read More...

The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is a chararacterful and rhythmic piece suited to being played by a wide range of instruments and instrumental groups. The music needs to be played lightly and a tempo of 110 quarter note (crotchet) beats to the minute is recommended. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close

La Paloma arr. two violins & cello

This arrangement is for two violins and cello playing in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggeste Read More...

This arrangement is for two violins and cello playing in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment cello figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

La Paloma arr. violin, viola & cello

This arrangement is for violin, viola and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The Read More...

This arrangement is for violin, viola and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment cello figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm,La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

La Paloma arr. violin & piano

Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Read More...

Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo violin part is also appended to the full music score. An accompaniment is available to encourage ensemble practice. Close

Los Tres Golpes arr. violin, viola & 2 violoncellos

Ignacio Cervantes (1847-1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) o Read More...

Ignacio Cervantes (1847-1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) originally composed for piano is one of his Danzas Cubanas exploring the habanera rhythm. It is a short piece usually played through twice in a performance. It has a haunting quality and is suited to being played by a number of different instrument combinations. His music combines Cuban, European and African elements and he was fortunate in being able to travel to Paris to further his music studies studying with Charles-Valentin Alkan and others. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Close

Over the Waves arr. violin & guitar with TAB

This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Read More...

This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. The guitar part also has TAB. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Guitar accompaniments are available as an mp3 download at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close

Over the Waves arr. violin & piano

This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Read More...

This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A violin part is appended to the music score. Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close

Over the Waves arr. violin, acoustic guitar & double bass

A familiar waltz that lends itself to being arranged and played by several different instrument combinations. The melody is very much associated with Read More...

A familiar waltz that lends itself to being arranged and played by several different instrument combinations. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs. Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most well known Latin American pieces. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Close

Over the Waves arr. violin & acoustic guitar

A familiar waltz melody that lends itself to being played by a wide variety of instruments.Rosas was a Mexican composer and violinist who began his ca Read More...

A familiar waltz melody that lends itself to being played by a wide variety of instruments.Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most well known Latin American pieces. The waltz melody is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs and was used for the song "The Loveliest Night of the Year" from the MGM film "The Great Caruso." This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Guitar accompaniments are available at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close

Gymnopedie No.1 arr. violon & piano

An arrangement for violon with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo violin part is Read More...

An arrangement for violon with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo violin part is also appended to the score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close

Variations on Twinkle, Twinkle Little Star arr. violin & cello

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

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate level arrangement explores classical compositional techniques within a two part texture and is intended to encourage duo playing. Close

Prelude in D arr for violin, viola & cello

An arrangement for violin, viola and cello of this movement with flowing lines that transcribe very effectively to this instrument combination.The re Read More...

An arrangement for violin, viola and cello of this movement with flowing lines that transcribe very effectively to this instrument combination.The realisations are played at a tempo of 60 half note (minim) beats to the bar Close

Prelude in D minor BWV 926 arr. violin & violoncello

An arrangement for violin and cello of this dignified movement with an outline chord shape that needs to be clearly articulated. This is supported by Read More...

An arrangement for violin and cello of this dignified movement with an outline chord shape that needs to be clearly articulated. This is supported by the contrasting and well defined bass line which has a toccata / cadenza section near the end. Close

Jesu, Joy arr. violin & violoncello

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for violin and cello. There is Read More...

This is a simplified and shortened version of one of J.S.Bach's famous pieces based on a chorale (hymn) melody arranged for violin and cello. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 9/8 time (three dotted quarter note beats to the bar) and provides very good opportunities to develop ensemble playing. Bach's music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Close

Minuet in B minor arr violin and cello

An arrangement for violin and cello of this familiar movement. The binary AB form minuet is from the Orchestral Suite in B minor BWV 1067. Players ma Read More...

An arrangement for violin and cello of this familiar movement. The binary AB form minuet is from the Orchestral Suite in B minor BWV 1067. Players may wish to refer to the Two Part score which has the ornaments written out to clarify how they should be played. There is also an mp3 realisation of the Two Part score. Close

Invention No.8 in F arr violin & violoncello

Although conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement of BWV 779 is for violi Read More...

Although conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement of BWV 779 is for violin and violoncello. The busy uplifting movement requires a good technique and level of musicianship to be played accurately at the recommended tempo of 96 quarter note (crotchet) beats to the minute.The acoustic in the realisation is possibly a little on the generous side whilst the tempo can possibly be eased back somewhat. Close

Invention No.8 in F arr. violin & viola

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this is an arrangement of BWV 779 for viol Read More...

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this is an arrangement of BWV 779 for violin and viola. The busy uplifting movement requires a good technique and level of musicianship to be played accurately at the recommended tempo of 96 quarter note (crotchet) beats to the minute. The acoustic in the realisation is possibly a little on the generous side and on reflection the tempo of the realisation is rather too quick. Close

Invention No.8 in F arr. violin & bassoon

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

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for the unusual combination of violin and bassoon. This busy uplifting movement requires a good technique and level of musicianship to be played accurately at the recommended tempo of 96 quarter note (crotchet) beats to the minute. The realisation possibly is a little on the hurried side? Close

Bourrée in Em BWV 996 arr. violin and violoncello

Arranged for violin and violoncello this particular bourrée shouldn't be played too quickly and a tempo of around 60 half note (minim) beats to the m Read More...

Arranged for violin and violoncello this particular bourrée shouldn't be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The musical lines are of equal performance and technical difficulty and make it an ideal ensemble piece. The realisation does lack some tonal contrast. Close

Invention No.4 in Dm arr for violin and cello

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

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for violin and cello. A flowing and reflective movement which should be played at a tempo which gives the music an uplifting feel rather a plodding one. A tempo of 72 dotted eighth note beats (dotted quaver) to the minute is suggested. These pieces are excellent for developing secure performing technique and an understanding of compositional techique in the baroque era. Close

Invention No.4 in Dm arr. for violin & viola

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

Whilst conceived as solo keyboard pieces the Inventions work really well when played as ensemble pieces and this arrangement is for violin and viola. This flowing and reflective movement which should be played at a tempo which gives the music an uplifting feel rather a plodding one. A tempo of 72 dotted eighth note beats (dotted quaver) to the minute is suggested. These pieces are excellent for developing secure performing technique and an understanding of compositional techique. Close

Invention No.14 in Bb arr for violin & viola

Arranged for violin and viola the playing of this rhythmic music will need to be even and balanced. A tempo of around 54 quarter note (crotchet) beats Read More...

Arranged for violin and viola the playing of this rhythmic music will need to be even and balanced. A tempo of around 54 quarter note (crotchet) beats to the bar is suggested. Close

Invention No.14 in Bb arr. for violin & violoncello

Arranged for violin and cello imitation is a strong compositional feature in this movement and will require playing that is even and balanced. A tempo Read More...

Arranged for violin and cello imitation is a strong compositional feature in this movement and will require playing that is even and balanced. A tempo of around 54 quarter note (crotchet) beats to the bar is suggested. Close

Invention No.13 in A minor arr. violin and viola

The Two Part Inventions are excellent training pieces but do require players to have a good and secure technique if performance are to be convincing. Read More...

The Two Part Inventions are excellent training pieces but do require players to have a good and secure technique if performance are to be convincing. Whilst the realisations have a tempo of 72 quarter note (crotchet) beats to the minute the movement can be performed at tempi both faster and slower than this. Close

Invention No.13 in A minor arr. for violin & cello

The Two Part Inventions are excellent training pieces but do require players to have a good and secure technique if performance are to be convincing. Read More...

The Two Part Inventions are excellent training pieces but do require players to have a good and secure technique if performance are to be convincing. Whilst the realisations have a tempo of 72 quarter note (crotchet) beats to the minute the movement can be performed at tempi both faster and slower than this. Close

Polonaise in G minor arr for violin and cello

An arrangement for violin and cello of this characterful and rhythmic piece in binary (AB) form in the key of G minor.

Minuet in G minor BWV App. 115 arr. violin & violoncello

An arrangement for violin and cello of this familiar and beautiful minuet from the Anna Magdalena Notebook in the key of G minor and like most dance m Read More...

An arrangement for violin and cello of this familiar and beautiful minuet from the Anna Magdalena Notebook in the key of G minor and like most dance music from this era in AB or binary form. The movement has a haunting quality and is often performed with the Minuet in G BWV App.114. Like so much of the music from the collection it is a great study piece for music students and can be played by a combination of different instruments. Keep the eighth notes (quavers) as even as possible and a tempo of around 116 quarter note (crotchet) beats to the minute is suggested. Close

March in D arr for violin and cello

An arrangement for violin and cello of this characterful and lively march written in cut time.

Minuet in G arr for violin and cello

An arrangement for violin and cello of this uplifting piece which features imitation in the writing and like many of Bach's short works composed in tw Read More...

An arrangement for violin and cello of this uplifting piece which features imitation in the writing and like many of Bach's short works composed in two sections. This binary (AB) form dance form movement needs to be played fluently and with all notes being clearly articulated. Close

Minuet in D minor BWV App. 132 arr. for violin & violoncello

An arrangement for violin and cello of this melancholy piece attributed to J.S.Bach in the very expressive key of D minor. Many pieces that appear in Read More...

An arrangement for violin and cello of this melancholy piece attributed to J.S.Bach in the very expressive key of D minor. Many pieces that appear in collections of Bach's music such as the "Anna Magdalena Notebook" have often been composed by some else. Close

Musette in D BWV App.126 arr. for violin and violoncello

An arrangement for violin and cello of this lively rhythmic movement. Notes need to be clearly articulated and there are some quite challenging rhyth Read More...

An arrangement for violin and cello 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

Minuet in G arr. for violin and cello

An arrangement of this familiar movement for violin and cello.