Study in Canon No.4 two pianos Ab

Composed in the key In the key A minor this movement in ABA ternary form has a haunting beautiful quality. Debussy has created an arrangement which h Show More...

Composed in the key In the key A minor this movement in ABA ternary form has a haunting beautiful quality. Debussy has created an arrangement which has beauty, shape and a sense of space. Debussy probably better than any other communicates the elements of the canonic study in his two piano arrangement of this movement creating the space and texture to communicate the details of the canon. Some of the detail of the scoring is different to Schumann’s original version for pedal piano. It is very interesting that other composers have re-visited Schumann’s Studies in Canon Opus 56 namely Bizet and Debussy. Tempo rubato is a musical element that could be explored in a performance although it has not been used in the realisation. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Piano I or Piano II parts. The Piano I part sounds on the one channel of the stereo signal and Piano II on the other. Accompaniment 1 plays at 69 dotted quarter (crotchet) note beats to the minute, Accompaniment 2 at 66 dotted quarter (crotchet) note beats to the minute, Accompaniment 3 at 63 quarter note beats (crotchet) to the minute and Accompaniment 4 at 60 quarter note beats to the minute. There is a two bar count in with the sound of a woodblock. As the music is in 12/8 time the music editor suggests that players should familiarise themeselves with this. In a performance situation printing two pages of music onto one side of A4 offers a practical solution for players. Close

Minuet and Trio Keyboard Sonata in C K.19d piano duet

The Minuet and Trio for piano 4 hands from the Keyboard Sonata in C K.19d is an intermediate level piano duet. It is believed that this work dates fro Show More...

The Minuet and Trio for piano 4 hands from the Keyboard Sonata in C K.19d is an intermediate level piano duet. It is believed that this work dates from 1765 and was possibly played by Mozart and his sister on a visit to London when more than likely it was played on a harpsichord. The music was only discovered in 1921 and whilst in the past it has been attributed to W.A Mozart the current view is that it was more probably composed by either his older sister Nannerl or his father Leopold. Suffice to say there is much of Mozart's classical musical style in this sonata whichever one of the family composed it. The sonata has some very appealing musical content and as a work, most probably written by a child, it is interesting to play and compare to W.A. Mozart's later and more substantial piano 4 hands music such as the piano Sonata for Piano 4 hands in C K.521. There are several variants in terms of the scores available but the sheet music score and realisation are based on current performance practice. The pattern that the of this music in performance is Minuet AABB Trio AABB followed by a repeat of the Minuet without repeats AB. The video score plays back at a tempo of 112 quarter note beats to the minute. The tempi of the minuet and trio sections are the same. Pianists and keyboard players do need to approach the work with a lightness of touch which is perhaps not suggested in the realisation. All notes need to be clearly articulated but duettists need to remember that the piece is very much about melody and accompaniment and it is the top line which needs to prevail. The music editor is keen to have feedback in respect to the accompaniment particularly in regard to the tempo that has been suggested. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo parts. The primo part sounds on the one channel of the stereo signal and the secondo part sounds on the other. Accompaniment 1 plays at 126 plays at quarter note beats (crotchet) to the minute, Accompaniment 2 plays at 120 quarter note beats (crotchet) to the minute at beats to the minute and Accompaniment 3 plays at 112 quarter note beats (crotchet) to the minute. There is a 2 bar count in featuring the sound of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Rondo Keyboard Sonata in C K.19d piano duet

The Rondo from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. It is believed that this work dates from 1765 and Show More...

The Rondo from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. It is believed that this work dates from 1765 and was possibly played by Mozart and his sister on a visit to London when more than likely it was played on a harpsichord. A rondo is a piece with a recurring theme and the form of this movement can be represented by the letters A B A C A D A E A. The realization plays back at a tempo of 110 quarter note beats to the minute. Each section is played at the same tempo apart from the Adagio E section. The appoggiaturas marked in the score can be and are interpreted differently by different performers. The music was only discovered in 1921 and whilst in the past it has been attributed to W.A Mozart the current view is that it was more probably composed by either his older sister Nannerl or his father Leopold. Suffice to say there is much of Mozart's classical musical style in this sonata whichever one of the family composed it! The sonata has some very appealing musical content and as a work, most probably written by a child, it is interesting to play and compare to W.A. Mozart's later and more substantial piano 4 hands music such as the piano Sonata for Piano 4 hands in C K.521. There are several variants in terms of the scores available but the sheet music score and realisation are based on current performance practice. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 110 quarter note beats (crotchets) to the minute, Accompaniment 2 plays at 106 quarter note beats (crotchets) to the minute and Accompaniment 3 plays at 100 quarter note beats (crotchets) to the minute There is a 4 bar count in featuring the sound of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Norwegian Dance piano duet

Carl Philip Emanuel Bach 1714 - 1788 is an important figure in music history and a composer that links the baroque with the classical era. He was an i Show More...

Carl Philip Emanuel Bach 1714 - 1788 is an important figure in music history and a composer that links the baroque with the classical era. He was an important influence on F.J.Haydn and L. van Beethoven who both held J. S. Bach’s composing son in high regard. This particular period in music history is a fascinating one and C.P.E Bach’s music is deserving of more attention both from the performance point of view and the need for well researched modern editions of his most popular music. This particular movement is in the “empfindsamer Stil” or sensitive style that is a feature in much of C.P.E.Bach’s music and other north German composers of the mid 18th century. It is approach that focuses on the expression of emotion in an intimate musical style that could be described as being declamatory or one that utilises both drama and dialogue. Whilst a movement with appeal there will be quite a challenge getting the piece to a performance standard. A realisation score with the ornaments all written out is appended to the sheet music score so that keyboard players can make a thorough study of the ornamentation of this work. This is an often complex and contradictory area but understandable because this composition comes from a time of great change in music. Keyboard players should have a sense of an eighth note quaver beat whilst the video score plays back at a tempo of 58 quaver beats to the minute. C.P.E. Bach’s favourite keyboard instrument was the in fact the clavichord and he was not really known to be an organ virtuoso like his father. He composed relatively little for the organ but did write some sonatas music for the sister of Frederick II, the Great, Princess Anna Amalia of Prussia. This movement which is part of a three movement sonata was composed sometime around 1755. C.P.E. Bach was known as the “Berlin Bach” whilst he worked in Berlin and then the “Hamburg Bach” when he moved there to replace his godfather Telemann as Kapellmeister. This distinguished him from his brother J.C. Bach who was known as the “London Bach”. Close

Ave Maria classical guitar with repeat C

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 Show 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 classical guitar C no repeat

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 Show 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

Norwegian Dance No.2 piano key of Bb

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

An arrangement for clarinet in Bb and piano of this charming character piece. This movement is in ABA ternary form with the A section playing back at a tempo of 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. 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 clarinet 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 clarinet in Bb part appropriately transposed is appended to the full sheet music score. Piano accompaniments are available with the following tempo options (1) 68/112/68 (2) 66/112/66 (3) 64/108/64. Numbers indicate the quarter note (crotchet) beats per minute for the ABA sections respectively. Close

Norwegian Dance No.2 guitar key of A

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 Show 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 piano key of A

An arrangement for pitched percussion (marimba) and piano of this charming character piece. This movement is in ABA ternary form with the A section pl Show More...

An arrangement for pitched percussion (marimba) 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 marimba 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

Second Movement Adagio Sonata in Bb K.358 piano duet

The Second Movement: Adagio from W.A. Mozart’s Sonata for Piano duet in Bb K.358 is an intermediate level piano duet. The Sonata, composed in the pe Show More...

The Second Movement: Adagio from W.A. Mozart’s Sonata for Piano duet in Bb K.358 is an intermediate level piano duet. The Sonata, composed in the period 1773-74 in Salzburg was most probably intended to played by Mozart and his older sister, Nannerl. The realisation score plays back at a tempo of 58 quarter note (crotchet) beats to the minute. The first repeat is usually played in a performance whilst the second indicated in the sheet music score is usually omitted. Pianists and keyboard players do need to approach the work with a lightness of touch in their hands. When playing the movement as part of an ensemble one of the performing challenges is to maintain clarity in the texture and to communicate the melodic ideas and how these are shared between the players. Whilst not indicated in the score minimal use of the sustaining pedal is suggested. The octave playing in the Secondo part needs careful practice and occasional use of the fourth finger is also suggested for this particular passage. The trills particularly in the Primo part when they are played by both hands also require attention. No repeats are played in the realisation. The challenge when playing Mozart is actually to make it sound like Mozart with a lightness of touch and beauty of sound. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo parts. The Primo part sounds on the one channel of the stereo signal and the secondo part sounds on the other. Accompaniment 1 plays at 58 quarter note beats (crotchet) to the minute, Accompaniment 2 at 56 quarter note beats (crotchet) to the minute and Accompaniment 3 at 54 quarter note beats (crotchet) to the minute There is a two bar count in featuring two different sounds of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Children’s March in G piano duet

The Children’s March is an intermediate level piano duet. The repeats are played in the realization and the formal pattern can be summarized as foll Show More...

The Children’s March is an intermediate level piano duet. The repeats are played in the realization and the formal pattern can be summarized as follows. March: A A B B Trio: A A B B March Da Capo (No repeats) AB. This is a template that appears in much classical and romantic music. As is the convention the repeats are not played in the Da Capo repeat of the March. There is a great range of tempo explored in the many performances available of this march. The realization playback at 96 quarter (crotchet) note beats to the minute. This is a characterful and appealing piece with enough contrast and charm to make it an interesting performance piece for both performers and audiences. No sustaining pedal is indicated in the sheet music score although its (minimal) use is suggested. Musical ideas are shared between the parts and players need to be sensitive with regard to the dynamics that they use. Many of Schubert’s greatest works are composed for piano duet and he made a substantial contribution to the repertoire. The composing context often related to his circle of friends for whom he would often write music. Whilst the Children’s March is a short work there are some substantial and large scale works also waiting to be explored. In the Trio section the triplets require a lightness in of touch in the way they are played. It is also important to understand that the Primo and Secondo parts are rhythmically independent. The accompaniment downloads that are available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 96 quarter note beats (crotchet) to the minute, Accompaniment 2 at 90 quarter note (crotchet) beats to the minute and Accompaniment 3 at 84 quarter note beats (crotchet) to the minute. If players are using a metronome in their preparation then it might be sensible to play to a half note or minim beat. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Los Tres Golpes | The Three Knocks piano Em

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

Invitación | Invitation piano A minor

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

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for viola and piano is in the key of A minor and features the Cuban habanera pattern. A viola 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 piano A minor

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

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for viola and piano is in the key of A minor and features the Cuban habanera pattern. A viola 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 piano E minor

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

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

Cantilene woodwind F

This arrangement for woodwind quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for flute, oboe, clarinet in B flat and basso Show More...

This arrangement for woodwind quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for flute, oboe, clarinet in B flat and bassoon. 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. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is actually very untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Instrumentalists need to 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. 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

Cantilene guitar G

This arrangement for classical guitar quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for 4 classical guitars. Instrumental Show More...

This arrangement for classical guitar quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for 4 classical guitars. Instrumental parts for individual players are appended to the full score. Accompaniments are also available allowing the guitar 1 player to enjoy ensemble practice in context. There is a one bar eighth note (quaver) click track before the 3 guitars start to sound. They play back at 80, 84 and 88 eighth (quaver) notes to the minute. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of the chromatic harmony of Brahms. In this arrangement the music has been transposed up a tone from the key of F to the key of G. Apart from the beauty of the melody the counterpoint, particularly in the inner parts of the accompaniment, is a joy to explore. There are few dynamic markings in the score which is actually very untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Guitarists should play with an awareness of an 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 in a quiet and sustained manner.The melody needs to be played with a legato whilst the bass line is played with a detached or staccato touch. The melody explores several rhythmic motifs often with 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 suggests the influence of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniment. Close

Cantilene piano F

This intermediate level arrangement of Rheinberger’s Cantilene is scored for oboe with piano accompaniment. An oboe part is appended to the full sco Show More...

This intermediate level arrangement of Rheinberger’s Cantilene is scored for oboe with piano accompaniment. An oboe part is appended to the full score available as a pdf download. Piano accompaniments are available playing at 80, 84 and 88 eighth (quaver) note beats to the minute. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Players should play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts. The small ornamental notes do not always sound in realisations and are best omitted whilst the movement is being studied. Cantilena is an Italian/Latin word suggesting both lullaby and song. A movement that is intended to be played quietly in a sustained approach. The melody and inner parts need 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 pianist may wish to add some sustaining pedal although its use is not indicated in the sheet music score. The accompaniment could also be played on the organ. 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 brass trio Ab

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

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

Cantilene brass F

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

This arrangement for brass quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for trumpet in Bb, French horn (horn in F) trombone and bass trombone or tuba. Instrumental parts for individual instruments are appended to the full score. Accompaniments are also available enabling trumpet players to practice in context. There is a one bar eighth note (quaver) click track before the French horn, trombone and bass trombone start to sound. The accompaniments play back at 80, 84 and 88 eighth (quaver) notes to the minute. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is actually very untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Brass players should play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts. The small ornamental notes in the score frequently do not sound in realisations and are best omitted whilst the movement is first being studied. Cantilena is an Italian/Latin word suggesting both lullaby and song. A movement that is intended to be played quietly in a sustained approach. The melody and inner parts needs to be played with a legato whilst the bass line is played with a detached or staccato touch. This is an excellent movement for developing good intonation in ensemble playing. The melody explores several rhythmic motifs often featuring tied notes. Much of the writing features off-beat rhythms related to the resolving of the dissonances in the inner parts. The influence of the Bach 4 part chorale harmonisation is paramount together with the chromatic harmony that can be readily identified in the music of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniment. Close

Cantilene saxophone F

This arrangement for saxophone quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for soprano, alto, tenor and baritone saxoph Show More...

This arrangement for saxophone quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for soprano, alto, tenor and baritone saxophones. Instrumental parts for individual instruments are appended to the full score. Accompaniments are also available allowing the soprano saxophone player to enjoy ensemble practice in context. There is a one bar eighth note (quaver) click track before the alto, tenor and baritone saxophones start to sound. The accompaniments play back at 80, 84 and 88 eighth (quaver) notes to the minute. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is actually not typical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Saxophonists should play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts. Cantilena is an Italian/Latin word suggesting both lullaby and song. A movement that is intended to be played quietly in a sustained approach. The melody and inner parts needs to be played with a legato whilst the bass line is played with a detached or staccato touch. This is an excellent movement for developing good intonation in ensemble playing. The melody explores several rhythmic motifs often featuring tied notes. Much of the writing features off-beat rhythms related to the resolving of the dissonances in the inner parts. The influence of the Bach 4 part chorale harmonisation is paramount together with the chromatic harmony that can be readily identified in the music of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniment. Close

Bolero piano duet D

Moritz Moszkowski (1854 – 1925) was a German composer of Polish – Jewish descent who was an exceptional pianist and well known at the end of the 1 Show More...

Moritz Moszkowski (1854 – 1925) was a German composer of Polish – Jewish descent who was an exceptional pianist and well known at the end of the 19th century as a concert pianist, conductor, composer and teacher. He was also a competent violinist. He composed many small-scale piano works of which his 5 Spanish Dances Opus 12 set are probably the best known existing in several formats. After moving to Paris in 1897 his health deteriorated from 1908 and his career quickly went into decline. From being rich and famous he soon lost all his money as a result of exchanging the copyrights on his music for government bonds which became worthless at the outbreak of the war in 1914. The Spanish sound is referenced by use of the phrygian mode which has the semi-tones between the first and second and the fifth and sixth degree of the scale - D Eb F G A Bb C D. The rhythmic shapes are from patterns associated with the Bolero which originated in Spain during the C18th as a form of ballroom dance and became a template and form used by many composers of art music. Music associated with particular countries and regions of Europe particular on its fringes became very popular towards the end of the 19th century in a movement that was known as nationalism. Moszkowski was a very well known composer artist in his own time but after his death like many composers his music disappeared from concert programmes. Score detail is in place for the whole movement simply for clarity. The suggested tempo to play this movement advised by the music editor is 104 quarter note (crotchet) beats to the minute but a realistic and equally satisfactory tempo is 96 quarter note (crotchet) beats to the minute. There are two options as to how to play the trills . Either as in the video score which can be viewed on our YouTube channel or by playing semi quavers. One of the characteristics of a Bolero is that it they speed up at the end and this feature has been retained in the realizations and accompaniments. This Bolero is a great ensemble piece offering plenty of contrast and pianistic in the sense that it quite playable. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 104 quarter note beats (crotchet) to the minute, Accompaniment 2 at 100 quarter note (crotchet) beats to the minute and Accompaniment 3 at 96 quarter note beats (crotchet) to the minute. There is a four bar count in that features the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. One of the characteristics of a Bolero is that it they speed up at the end and this feature has been retained in the realizations and accompaniments. This Bolero is a great ensemble piece offering plenty of contrast and pianistic in the sense that it quite playable. For those who want to explore the music of Moszkowski Étincelles (Sparks) from the Opus 72 set of Études is quite a movement often played as an encore at the end of a concert. Close

Siciliana woodwind trio Ab

An intermediatlevel arrangement from PlentyMusic for woodwind trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giard Show More...

An intermediatlevel arrangement from PlentyMusic for woodwind trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini. This trio arrangement is for flute, clarinet in Bb and bassoon. Giardini’s string trio’s are beautifully crafted works and need to be re-discovered and played. The tempo marking in the sheet music score is Adagio whilst the video score plays back at 44 dotted quarter (crotchet) notes to the minute. 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 please do send the PlentyMusic Office an mp3 recording of a performance or rehearsal or even a notated 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 cities of Europe. After leaving England in 1784 for Naples his career faltered due mainly to changes in secure financial circumstances. Close

Siciliana guitar trio A

An intermediatelevel arrangement from PlentyMusic for classical guitar trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Fel Show More...

An intermediatelevel arrangement from PlentyMusic for classical guitar trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini transcribed to the key of A. 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 video score plays back at 44 dotted quarter (crotchet) notes to the minute. Trills begin on the note and have been notated in full in the video score which can be viewed on our YouTube channel. This area of performance practice is one that encourages debate and if instrumentalists have an alternative please do send the PlentyMusic Office an mp3 recording of a performance or rehearsal or even a notated 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 cities of Europe. After leaving England in 1784 for Naples his career faltered due mainly to changes in secure financial circumstances. Close

Siciliana clarinet trio Ab

This intermediate level arrangement from PlentyMusic of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini is scored Show 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 2 clarinets in Bb and bass clarinet. 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 clarinet in Bb 2 and bass clarinet practice please advise the PlentyMusic Office. Trills begin on the note and have been notated in full in the video score. This area of performance practice is one that encourages debate and if instrumentalists have an alternative and the music editor is aware of at least one please do advise the PlentyMusic Office with an mp3 recording of a performance or rehearsal or even a sheet music version. The siciliana, siciliano or sicilienne is a slow dance with a lilting rhythm in three time which can be described as a slow jig and features quite strongly in baroque music and in many works since. Such music is often in the minor key, pastoral in character with dotted rhythms frequently prevailing. Its origins are possibly Sicilian because of its association with the Sicilian born Alessandro Scarlatti but more likely to the madrigals of the Italian renaissance. Giardini’s music is familiar to those who sing hymns as the tune Moscow was composed by him. Giardini 1716 – 1796 Italian by birth, was a violinist and composer, who toured widely in Europe settling in England and becoming an orchestra leader of the Italian Opera in London and director of the orchestra at the London Pantheon. He worked closely with his friend and colleague J. C. Bach, familiarly referred to as the the London Bach. For a 15 year period from the mid 1750’s Giardini was considered to be one of the very best performing artists of his time. As a composer his chamber music, particularly his string trios, are best known and his compositional style combines style galant with the classicism of J. C. Bach and the Mannheim school associated with Stamitz. This so called pre-classical period in music is a fascinating period to study because of the great diversity in music across the main music centes of Europe. After leaving England in 1784 for Naples his career faltered due mainly to changes in secure financial circumstances. Close

Ave Maria

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

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

Ave Maria | BG | piano Bb no repeat

In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for tenor horn and piano Gounod’s melody is played on by the tenor player Show More...

In this arrangement of the Bach - Gounod “Ave Maria” from PlentyMusic for tenor horn and piano Gounod’s melody is played on by the tenor player while the Bach Prelude No. 1 is played by the pianist. The music has been transposed to the key of Bb. 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

Spanish Dance No. 5 classical guitar duo Em

Spanish Dance No. 5 by E. Granados in an arrangement from PlentyMusic for guitar duo/guitar duet. This popular and appealing intermediate level moveme Show More...

Spanish Dance No. 5 by E. Granados in an arrangement from PlentyMusic for guitar duo/guitar duet. This popular and appealing intermediate level movement dates from 1890 and its use of the phyrgian 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. In the video score the ornaments have been written out to clarify how they should be played. 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 place as the dominant note of the succeeding Spanish Dance No. 6. The arranger has generally avoided doubling the melody part played by the solo instrument in the accompaniment. piano part. 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. Accompaniments played by classical guitar 2 are available from the PlentyMusic website playing at the following beats per minute 47|94|47, 50|100|50, 53|106|53. The A section is in 6/8 (2 dotted quarter note or crotchet beats to the bar) and the B section in 3/4 (3 quarter note or crotchet beats to the bar). 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 classical guitar 2 Em

Spanish Dance No. 5 by E. Granados in an arrangement from PlentyMusic for guitar duo/guitar duet. This popular and appealing intermediate level moveme Show More...

Spanish Dance No. 5 by E. Granados in an arrangement from PlentyMusic for guitar duo/guitar duet. This popular and appealing intermediate level movement dates from 1890 and its use of the phyrgian 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. In the video score the ornaments have been written out to clarify how they should be played. 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 place as the dominant note of the succeeding Spanish Dance No. 6. The arranger has generally avoided doubling the melody part played by the solo instrument in the accompaniment. piano part. 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. Accompaniments played by classical guitar 2 are available from the PlentyMusic website playing at the following beats per minute 47|94|47, 50|100|50, 53|106|53. The A section is in 6/8 (2 dotted quarter note or crotchet beats to the bar) and the B section in 3/4 (3 quarter note or crotchet beats to the bar). 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 piano Em

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for flute with piano accompaniment. A flute part is appended to the full score which is a Show More...

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for flute with piano accompaniment. A flute 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

Ave Maria | BG | classical guitar C

In this arrangement from PlentyMusic of the Bach - Gounod “Ave Maria” for violin and classical guitar Gounod’s melody is played by the violinist Show 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 | BG | classical guitar C no repeat

In this arrangement from PlentyMusic of the Bach - Gounod “Ave Maria” for violin and classical guitar Gounod’s melody is played by the violinist Show 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 | BG | piano C no repeat

Variations on “Ich denke dein” piano duet D

The 6 Variations with Coda “Ich denke dein” for piano duet (piano 4 hands) were composed in 1803 and published in 1805. A quite delightful set of Show More...

The 6 Variations with Coda “Ich denke dein” for piano duet (piano 4 hands) were composed in 1803 and published in 1805. A quite delightful set of variations based on a song melody with a text that roughly translates as “I think of you when the sun shimmers on the sea” which suggests that the composer belongs more to the romantic than the classical era. sf means suddenly loud and is one of Beethoven’s most used score markings as is not unsurprisingly fp meaning loud going to soft. In Beethoven’s music the surprise element is always strong particularly in respect to dynamics and rhythmic accents which are often placed on the weaker beats of the bar. Time signatures appear at the beginning of the theme and also the beginning of each variation. All movements apart from Variations 3 and 5 are in common time. Tempos in Variation 3 and 5 are more relaxed and slower with the music notated in 2/2 time. As his sketch books show, Beethoven was particular fond of re-working and revising his composition ideas but there is always purpose and a clear sense of direction in his music. Use of the sustaining pedal is recommended but has not been indicated in the score. The lines of music are rhythmically independent which makes playing the trills in Variation 4 challenging. Beethoven is always interested in developing piano technique and there is evidence of this particularly in Variation 4. This particular variation took the music editor as much time to prepare as the rest of the work put together! The music editor suggests omitting the ornaments particularly in this variation in the first instance. Any pianists/keyboard players not sure of how the ornaments should be played should refer to the video score on the YouTube channel to see a suggested solution. In the video score the ornaments written out in full and it sounds exactly as the realisation available as the mp3 from the website. The playing of ornaments is much more interesting and challenging in Beethoven’s time. The Primo and Secondo can be downloaded separately as “accompaniments” enabling players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on one channel of the stereo signal and the Secondo part sounds on the other. The tempos are as follows in quarter note beats to the bar with the second figure indicating the half note or minim beat tempos for variations 3 and 5. There are three accompaniments: Accompaniment 112/50 Accompaniment 2 108/48 Accompaniment 3 104/46. There is a four bar count in /click on the accompaniment mp3. When performing printing two pages of music on to one side of A4 offers a practical solution for players. Close

March No.1 piano duet C

The Three Marches Opus 45 for piano duet (piano 4 hands) were composed in 1803 and published in 1804. The march form features strongly in 19th century Show More...

The Three Marches Opus 45 for piano duet (piano 4 hands) were composed in 1803 and published in 1804. The march form features strongly in 19th century music. In March No.1 the composer does not quite follow convention in the formal arrangement and symmetry of the typical March and Trio. March No. 1 can be represented as follows - March A B B Trio A A B March Da Capo (no repeats) A B. The realisation and music scores are presented as the movement is performed so repeats where indicated are played. The score detail in Beethoven’s music is always interesting particularly regarding dynamics. Accents for example, are often placed on the weaker beats of the bar and the surprise element in a score is always strong. The playback score plays back at a standard march tempo of 60 half note beats to the minute. The Trio is played at the same tempo as the March. Beethoven is particularly fond of adding closing sections often referred to as codas and there is a lovely example from bars 36 to 40. This is an excellent movement for understanding Beethoven’s approach to composition in his so called “middle” period. While many of the musical elements are straightforward the composer’s desire to expand and develop form, harmony and process are constantly evident. In addition, Beethoven’s music always has a strong rhythmic focus. All the way through the movement musical ideas are shared and developed creating what is a great ensemble piece. The ornaments in the music of Beethoven and his contemporaries also offer more challenges than those of the classical era. There are considerations as far starting notes and the number of notes played in trills - trills at important cadences can add to the dynamic and intensity of a performance. You might notice that the video score has a 6 note trill played at the end of the March although in the realization it is played as a four note shape. The Primo and Secondo parts can be downloaded as “accompaniments” enabling players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the right channel of the stereo signal and the Secondo part sounds on the left channel. The tempos are as follows in quarter note beats to the minute. Accompaniment 1 126 Accompaniment 2 120 Accompaniment 3 112. There is a four bar count in /click on the accompaniment mp3. When performing printing two pages of music on to one side of A4 offers a practical solution for players. It is a good idea for players to use a metronome in their preparation. Close

Berceuse piano duet E

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 Show 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 69 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 accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 76 quarter note beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 68 quarter note beats (crotchet) to the minute. There is a four bar count in with the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Ave Maria classical guitar with repeat A

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

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This is an intermediate level flute arrangement with classical guitar accompaniment in the key of A and available from PlentyMusic as a pdf 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 both staff notation and TAB. 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 classical guitar A with repeat

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

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This is an intermediate level flute arrangement with classical guitar accompaniment in the key of A and available from PlentyMusic as a pdf 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 both staff notation and TAB. 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 piano Bb no repeat

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for English horn and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's "Ave Maria" can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling English horn players to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. English horn players have the options of playing the repeat at the octave. 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 piano Bb with repeat

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for English horn and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's "Ave Maria" can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling English horn players to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. English horn players have the options of playing the repeat at the octave. 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 piano C no repeat

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for 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 piano C with repeat

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for 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 piano C with repeat

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusi Show More...

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This intermediate level arrangement from PlentyMusic is for 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

Sicilienne guitar Am

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

A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing the score the most appropriate ranges of the instruments are explored and consequently there has been some simplifying of the texture in the guitar writing. The realisation plays at a tempo of 50 dotted quarter notes to the minute – the music editor’s view is that many performances of the work are played too quickly. In this arrangement A minor is the chosen key although G minor is the natural and most appropriate key for the work. G minor is however a challenging key for the guitar player whilst the work is definitely playable in A minor. The music editor would appreciate receiving an informed opinion about key options for this work and would advise that some of the chord voicing may need to further simplified.Guitar accompaniments are available at playing at 54, 50 and 48 dotted quarter note (crotchet) beats to the minute. Close

Minuet and Trio in E D.335 piano

The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this arrangement for flute and piano is an intermediate level work. Show More...

The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this arrangement for flute and piano is an intermediate level work. 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. A flute part is appended to the full score which can be downloaded as pdf file from the PlentyMusic website. Three piano accompaniments playing at 112, 116 and 120 quarter note (crotchet) beats to the minute are also available enabling players to incorporate ensemble playing into their practice routines. 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 120 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. Close

Minuet and Trio in E D.335 piano

The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this arrangement for flute and piano is an intermediate level work. Show More...

The Minuet and Trio in E by Franz Schubert is an excellent performance piece and this arrangement for flute and piano is an intermediate level work. 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. A flute part is appended to the full score which can be downloaded as pdf file from the PlentyMusic website. Three piano accompaniments playing at 112, 116 and 120 quarter note (crotchet) beats to the minute are also available enabling players to incorporate ensemble playing into their practice routines. 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 120 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. Close

Minuet and Trio in E Flat D.335 piano

The Minuet and Trio in Eb by Franz Schubert is an excellent performance piece and this intermediate level arrangement for baritone saxophone with pian Show More...

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

Adiós A Cuba | Farewell to Cuba piano Am

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

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is for viola 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

Study in Canon No.5 trio version tenor saxophone & piano Am

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

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

Study in Canon No.5 trio version bass clarinet & 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 Show More...

A quite vivid movement although one isn’t sure what Schumann is endeavouring to describe although from the music view a march pattern is suggested both by the time signature and the musical ideas. The arrangement for clarinet in Bb, bass clarinet and piano has a playback tempo of 100 quarter note (crotchet) beats to the minute. The music has been transposed down a tone and sounds in the key of A minor. 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 clarinet in Bb and bass clarinet and in the final section between the piano and clarinet in Bb. 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 in Bb player to incorporate ensemble playing into their practice routines. The accompaniments are recorded at 256kbps. Parts for the two clarinets appropriately transposed are appended to the full score. Close

Study in Canon No.5 trio version bass clarinet & piano Am

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

A quite vivid movement although one isn’t sure what Schumann is endeavouring to describe although from the music view a march pattern is suggested both by the time signature and the musical ideas. The arrangement for clarinet in Bb, bass clarinet and piano has a playback tempo of 100 quarter note (crotchet) beats to the minute. The music has been transposed down a tone and sounds in the key of A minor. 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 clarinet in Bb and bass clarinet and in the final section between the piano and clarinet in Bb. 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 in Bb player to incorporate ensemble playing into their practice routines. The accompaniments are recorded at 256kbps. Parts for the two clarinets appropriately transposed are appended to the full score. Close

Minuet in A D.334 piano A

The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schu Show 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 Ab D.334 piano Ab

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. The Minue Show More...

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. 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 although when necessary there are some octave transpositions to keep to a convenient range of the solo instrument. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver with delicacy and musicality. Whilst originally a solo work for piano it is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager! Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No 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. A part for the flute is appended to the full score in the pdf download. Close

Study in Canon No.1 trio version bass clarinet & piano Bb

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 Show More...

Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s original writing. The trio realisation plays back at 72 quarter note (crotchet) beats to the minute. The tempo indication is to play the movement “Not too quickly” which be played in quite a broad tempo range. In the video score, which can be found by clicking the YouTube link on the PlentyMusic home page, the ornaments have been written out to add clarity to what often is an ambiguous area. The PlentyMusic solution is not intended to be prescriptive but the suggestions are based on the best of current performance practice. The ornaments can be omitted and this is probably sensible when the movement is first being studied. Accompaniments are available from the PlentyMusic website in mp3 format that enable the clarinet in Bb player to explore the movement as an ensemble piece. Recorded at 256kbps quality they play back at 64, 68, 72, 76 and 80 quarter note beats to the minute. 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. 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.5 two pianos Bm

Debussy’s two piano arrangement of Schumann’s original version for pedal piano. The pedal piano was an instrument used by organists as a practice Show More...

Debussy’s two piano arrangement of Schumann’s original version for pedal piano. The pedal piano was an instrument used by organists as a practice instrument. A quite vivid movement although one isn’t sure what Schumann’s original intention is endeavouring to describe although from the music view a march pattern is suggested both by the time signature and the musical ideas. The two piano version has a playback tempo of 104 quarter note (crotchet) beats to the minute. The tempo direction in the score is to play the movement “Not too fast.” 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. 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 featuring the Piano 1 sounding on one side of the stereo channel and Piano 2 on the other. They play at 92, 96, 100 and 104 quarter note (crotchet) beats to the minute enabling the pianists to incorporate ensemble practice as part of their routine. Close

Study in Canon No.1 two pianos C

A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in this work composed at a time that Schumann was Show More...

A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in this work composed at a time that Schumann was intent on restoring rigour and contrapuntal discipline in his compositional approach. Whilst this music references the past there is a romantic twist or two in the harmonic language. A tempo of 76 quarter note (crotchet) beats to the minute is used in the realisation. Trills begin on the note and have been written out in the video score. Understand that the melodic and rhythmic shapes of the ornaments are constant throughout the whole movement. Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently many other arrangements have been created. The two piano parts piano 1 and piano 2 can be also be downloaded as an mp3 accompaniment enabling players to enjoy an ensemble music experience playing either the piano 1 or piano 2. Piano 1 sounds on one side of the stereo channel and piano 2 part on the other. The accompaniments play at 64, 68, 72,76 and 80 quarter note (crotchet) beats to the minute. There is a 2 bar click beat before the music starts playing. When performing printing two pages of music onto one side of A4 offers a practical solution for players. Close

Study in Canon No.1 piano duet C

A movement with beauty, shape and a sense of space. The imitation principle is understandably very strong in this work composed, the music editor unde Show More...

A movement with beauty, shape and a sense of space. The imitation principle is understandably very strong in this work composed, the music editor understands, when Schumann was intent on restoring rigour and confidence to his own compositional process. For the players there is surprisingly intensity and discipline needed to play this relatively short movement. Whilst this music references the past there is a romantic twist or two in the harmonic language. A tempo of 84 quarter note (crotchet) beats to the minute is used in the realisation. Trills begin on the note and have been written out in the first section of the score in the ossia staves. Understand that the melodic and rhythmic shapes of the ornaments are constant throughout the whole movement. The French word for study is Etude and those who develop or have developed a keen interest in music will be very aware of the many musical challenges associated with this word! Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently arranged for piano duet / piano four hands by Georges Bizet. There are also other versions for organ, two pianos and string quartet. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 76 quarter note (crotchet) beats to the minute and Accompaniment 3 at 72 quarter note beats (crotchet) to the minute and Accompaniment 4 at 68 quarter note beats to the minute.. There is a two bar count in with the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Study in Canon No.5 piano duet Bm

The piano duet or music for piano 4 hands version has a playback tempo of 100 quarter note (crotchet) beats to the minute. A canon arises in the descr Show More...

The piano duet or music for piano 4 hands version has a playback tempo of 100 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. 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 featuring the primo part sounding on one side of the stereo channel and the secondo on the other. They play at 92, 96, 100 and 104 quarter note (crotchet) beats to the minute enabling the pianists to incorporate ensemble practice as part of their routine. Close

Study in Canon No.1 trio version tenor saxophone & piano Bb

Study in Canon No.1 trio version tenor saxophone & piano Bb

Rondeau from Sonata Concertata Opus 61 piano B flat

This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Co Show More...

This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 92 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are in this category. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy. Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 88 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 92 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 100 and Accompaniment 5 at 104 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close

Rondeau from Sonata Concertata Opus 61 piano B flat

This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Co Show More...

This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 92 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are in this category. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy. Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 88 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 92 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 100 and Accompaniment 5 at 104 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close

Study in Canon No.6 piano duet B

The piano duet arrangement of Schumann’s Studies in Canon by Bizet are hidden treasures in the repertoire. Bizet’s exploration of Schumann’s mus Show More...

The piano duet arrangement of Schumann’s Studies in Canon by Bizet are hidden treasures in the repertoire. Bizet’s exploration of Schumann’s music adds to the composer’s original intention by exploring the musical texture in a broader musical space. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in its style and certainly in the first instance reminiscent of Bach’s 4 part chorale writing although with romantic chromatic 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. Schumann’s original intention is to combine beauty of sound with a legato touch and it is important for pianists to aim for the best legato possible in their playing. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on 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. 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. Do explore the solo piano, piano duet, two piano and trio versions available on the PlentyMusic website. Accompaniments are also available enabling pianists to explore and develop their ensemble skills. The primo part sounds on one side of the stereo channel and the secondo part on the other. There are four accompaniments available in the tempo range from 58 to 64 quarter beats to the minute. Close

Study in Canon No.6 two pianos B

The Debussy arrangements of Schumann’s Studies in Canon for Two Pianos are an exploration of Schumann’s original music from both the spatial and Show More...

The Debussy arrangements of Schumann’s Studies in Canon for Two Pianos are an exploration of Schumann’s original music from both the spatial and textural point of view. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in its style and reminiscent of Bach’s 4 part chorale writing although with chromatic harmony of Schumann’s own time. 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 returns to the mood and style of the first section although this section has both more contrast and drama. Schumann’s intention is to combine beauty of sound with a legato touch and it is important for pianists to aim for the best legato possible in their playing. The realisation plays back at 60 quarter note beats to the minute with the tempo marked as adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on out PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills in this time begin on the note. The final chord should be spread evenly from the lowest to the highest sound. 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 pianists to explore and develop their ensemble skills. The piano 1 part sounds on one side of the stereo channel and piano 2 on the other. There are four accompaniments available in the tempo range from 58 to 64 quarter beats to the minute. Close

Study in Canon No.4 trio version cello & piano Ab

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

Study in Canon No.4 trio version cello & piano Ab

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

Study in Canon No.3 two pianos E

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 p Show More...

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 and for those that require clarity on how they should be played refer to the video score on our YouTube channel. The performance practice with this movement the music editor would suggest is at times ambiguous and at best inconsistent. The music editor has avoided suggesting a rit at the end of the movement although in performance this is an option. 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 whilst the piano trio arrangements of Kirchner provide additional repertoire and ensemble opportunities. 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 accompaniment downloads available enable players to enjoy an ensemble music experience playing the violin parts. Accompaniment 1 plays at 80|100|80 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 76|90|76 quarter (crotchet) note beats to the minute, Accompaniment 3 at 72|84|72 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 68|80|68 quarter (crotchet) note beats to the minute. The two bar count in features the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Study in Canon No.3 trio version cello & piano E

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The oboe substitutes for the violin in this particular arrangement with Show More...

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The oboe substitutes for the violin in this particular arrangement with some re-scoring of the oboe and violoncello part towards the end of the movement. 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 oboe 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 very practical solution for players. Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close

Study in Canon No.3 piano duet E

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 p Show More...

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 and for those that require clarity on how they should be played refer to the video score on our YouTube channel. The performance practice with this movement the music editor would suggest is at times ambiguous and at best inconsistent. The music editor has avoided suggesting a rit at the end of the movement although in performance this is an option. 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 whilst the piano trio arrangements of Kirchner provide additional repertoire and ensemble opportunities. 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 accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 80|100|80 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 76|90|76 quarter (crotchet) note beats to the minute, Accompaniment 3 at 72|84|72 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 68|80|68 quarter (crotchet) note beats to the minute. The two bar count in features the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Study in Canon No.3 trio version clarinet in A & piano E

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin and the clarinet in A for the viol Show More...

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin and the clarinet in A for the violoncello. 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 flute 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 very practical solution for players. Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close

Study in Canon No.3 trio version key of E clarinet in A & piano

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin and the clarinet in A for the viol Show More...

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin and the clarinet in A for the violoncello. 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 flute 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 very practical solution for players. Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close

Rondeau from Sonata Concertata Opus 61piano A

This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Con Show More...

This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 92 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are part of this legacy. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy. Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 104 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 100 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 92 and Accompaniment 5 at 88 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close

Rondeau from Sonata Concertata Opus 61 piano A

This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Con Show More...

This movement is an arrangement of music that was originally composed for the violin and guitar. The third movement of Niccolo Paganini’s Sonata Concertata essentially has the form and mood of a rondo which are typically found as the final movement of a concerto. This is an appealing uplifting joyful movement with challenges for both the solo player and accompanist. The realisation plays back at 92 dotted quarter notes to the minute and the movement can be performed in a tempo range from 88 to 104 dotted quarter notes to the minute. There is still much repertoire to be discovered and shared from existing music and Paganini’s compositions for violin and guitar are part of this legacy. Legato playing is to be encouraged and solo instrument players need to consider how they play the sections where the piano accompaniment has the dominant musical material. There is opportunity to perhaps ornament and decorate the solo instrument line. The sectional structure of the rondeau encourages good practice strategies and as the repetitive element is strong it makes it an ideal performance piece for the player seeking to gain experience and confidence in this aspect of their playing. The repeat of the first section has been retained in the realisation and music score but could be omitted in a performance. The use of the sustaining pedal is to encouraged in the accompanying piano part although pedal markings are not indicated in the score. So much can be learnt about playing difficult pieces by playing easy pieces and this movement is a case in point. This ensemble piece has been included in the PlentyMusic Concert Hall area of study. There is the option of slowing down at the end although this is probably only appropriate when the tempo is 100 or more beats to the minute. There are some lovely Spanish music references through the use of the phrygian mode in the section from bars 76 to bar 84. Paganini (1782 – 1840) is a unique and quite captivating figure in the history of music who influenced many romantic composers inspiring many to write for the piano as he did for the violin. His music and particularly his virtuoso approach has been the inspiration for compositions by many other composers including Schumann, Chopin, Liszt, Rachmaninov amongst others. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. He also left a teaching legacy as well as compositions and a well documented and renowned performance legacy. Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 104 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 100 dotted quarter note (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 92 and Accompaniment 5 at 88 dotted quarter note (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context. Please advise the PlentyMusic Office if there is any feedback on this aspect of their use. Close

Study in Canon No.2 trio version key of Am cello & piano

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

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for oboe, 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. There are some octave transpositions in the oboe part t needed to keep to the range of the instrument and some minor re-scoring of the parts in bar 51. Parts for the oboe 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 oboe 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 utilising the sound of a woodblock. Close

Study in Canon No.2 trio version key of Am bass clarinet & piano

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

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for clarinet in Bb, bass clarinet and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the flute part to accommodate the range of the instrument. Parts for the clarinet in Bb and bass clarinet appropriately transposed are appended to the full score. The music editor would like to hear from bass clarinet players as to the practicality of playing the low notes in the 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 clarinet in Bb part as a solo. The piano and bass clarinet sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close

Spanish Dance No 2 piano duet

A tempo of 50 dotted quarter note beats to the minute is appropriate if players wish to play the movement at one tempo. Another approach is to take th Show More...

A tempo of 50 dotted quarter note beats to the minute is appropriate if players wish to play the movement at one tempo. Another approach is to take the opening and closing section and play those slightly slower than the middle B section. Both approaches are quite valid. The movement needs to be played with a one in a bar feel. Players should endeavour to communicate the charm and intimacy of the music. 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 is 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). 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 the drawing room and composed at a time when the playing of piano duets was a very popular pastime. The triplet figuration so characteristic of Spanish music is a strong feature in this movement. 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. The mp3 accompaniment downloads from the PlentyMusic website enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 150/135/150, Accompaniment 2 plays 144/144/144, Accompaniment 3 at 138/150/138, Accompaniment 4 at 135/150/135 and Accompaniment 5 at 135/144/135 quarter note (crotchet) beats to the minute If pianists require accompaniments with different tempi then please advise the PlentyMusic office. There is a four bar count that features the sound of two pitches of a woodblock. If not using an iPad or notebook, when performing PlentyMusic scores printing two pages of music onto one side of A4 offers a practical solution for players. Moritz Moszkowski (1854 – 1925) was a German composer of Polish – Jewish descent who was an exceptional pianist and well known at the end of the 19th century as a concert pianist, conductor, composer and teacher. He was also a competent violinist. He composed many small-scale piano works of which his 5 Spanish Dances Opus 12 set are probably the best known existing in several formats. After moving to Paris in 1897 his health deteriorated from 1908 and his career quickly went into decline. From being rich and famous he soon lost all his money as a result of exchanging the copyrights on his music for government bonds which became worthless at the outbreak of the war in 1914. Close

Study in Canon No.6 trio version cello and piano B

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 Show 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 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 one of the 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.6 trio version tenor saxophone and piano Bb

This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expandi Show More...

This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music to be enjoyed by a chamber group. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on our PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the soprano saxophone player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a tenor saxophone and require just the piano sounding in the accompaniment. Close

Study in Canon No.6 trio version bass clarinet and piano Bb

This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expandi Show More...

This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music to be enjoyed by a chamber group. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the clarinet in Bb player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a bass clarinet and require just the piano sounding in the accompaniment. Close

Off to California upright bass G

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

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Much folk music is played from memory and this 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 in the realisation and there is no ornamentation of the melodic line. The score is presented with minimal score detail as is usually the case with folk music. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the upright bass 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

Third Movement Allegro molto piano duet D

The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it Show More...

The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it has been described as a reduction of an Italian symphony and is contemporary with his opera Lucio Silla K.135 composed when he was aged 16. The First Movement: Allegro is typically Mozartian both in spirit and musical content. The realisation plays back at 144 quarter note (crotchet) beats to the minute. It is a very purposeful movement requiring light hands which is perhaps a musical element difficult to suggest in a realisation. The repeats although marked in the score are not played. There is plenty of opportunity for players to fine tune their playing of legato and staccato touches and to develop tremolo playing. The music editor favours a dry acoustic in recordings enabling clarity in the communication of the music. Accompaniments in mp3 format recorded at 256kbps which have a 4 bar count in are available at 120, 132, 138 and 144 quarter note (crotchet) beats to the minute. For those needing more information on how to play the ornaments refer to the video score on our YouTube channel where the ornaments have been written out to give clarity to what is a confusing area. When learning a movement it is often best to omit the ornamentation in the first instance. Close

Second Movement Andante piano duet D

A slow movement in the subdominant key of G requiring a legato piano touch with some occasional staccato articulations which are indicated in the musi Show More...

A slow movement in the subdominant key of G requiring a legato piano touch with some occasional staccato articulations which are indicated in the music score. There is a some lovely sharing of the melodic material between the primo and secondo parts in this quite beautiful classical movement. A beautifully balanced movement from the point of view of musical texture. It is a two section AB binary movement although the repeats are not played in the realisation. Performers may wish to review the articulations suggested and if changes are made they do need to be made consistently and be in keeping with the style. Accompaniments are available at 52, 54, 56, 58, and 60 quarter note beats to the minute. There is a two bar count in, featuring the sound of the woodblock, with the first bar in eighth notes (quavers) and the second bar in quarter notes (crotchets). For those needing more information on how to play the ornaments refer to the video score on our YouTube channel where they have been written out to give clarity to what is often a confusing area. When learning a movement it is often best to omit the ornamentation in the first instance. Close

Study in Canon No.2 arr. two pianos Am

Composed in the key In the key A minor this movement in ABA ternary form has a haunting beautiful quality. Debussy has created an arrangement which h Show More...

Composed in the key In the key A minor this movement in ABA ternary form has a haunting beautiful quality. Debussy has created an arrangement which has beauty, shape and a sense of space. Debussy probably better than any other communicates the elements of the canonic study in his two piano arrangement of this movement creating the space and texture to communicate the details of the canon. Some of the detail of the scoring is different to Schumann’s original version for pedal piano. It is very interesting that other composers have re-visited Schumann’s Studies in Canon Opus 56 namely Bizet and Debussy. Tempo rubato is a musical element that could be explored in a performance although it has not been used in the realisation. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Piano I or Piano II parts. The Piano I part sounds on the one channel of the stereo signal and Piano II on the other. Accompaniment 1 plays at 69 dotted quarter (crotchet) note beats to the minute, Accompaniment 2 at 66 dotted quarter (crotchet) note beats to the minute, Accompaniment 3 at 63 quarter note beats (crotchet) to the minute and Accompaniment 4 at 60 quarter note beats to the minute. There is a two bar count in with the sound of a woodblock. As the music is in 12/8 time the music editor suggests that players should familiarise themeselves with this. In a performance situation printing two pages of music onto one side of A4 offers a practical solution for players. Close

Norwegian Dance piano duet A

Carl Philip Emanuel Bach 1714 - 1788 is an important figure in music history and a composer that links the baroque with the classical era. He was an i Show More...

Carl Philip Emanuel Bach 1714 - 1788 is an important figure in music history and a composer that links the baroque with the classical era. He was an important influence on F.J.Haydn and L. van Beethoven who both held J. S. Bach’s composing son in high regard. This particular period in music history is a fascinating one and C.P.E Bach’s music is deserving of more attention both from the performance point of view and the need for well researched modern editions of his most popular music. This particular movement is in the “empfindsamer Stil” or sensitive style that is a feature in much of C.P.E.Bach’s music and other north German composers of the mid 18th century. It is approach that focuses on the expression of emotion in an intimate musical style that could be described as being declamatory or one that utilises both drama and dialogue. Whilst a movement with appeal there will be quite a challenge getting the piece to a performance standard. A realisation score with the ornaments all written out is appended to the sheet music score so that keyboard players can make a thorough study of the ornamentation of this work. This is an often complex and contradictory area but understandable because this composition comes from a time of great change in music. Keyboard players should have a sense of an eighth note quaver beat whilst the video score plays back at a tempo of 58 quaver beats to the minute. C.P.E. Bach’s favourite keyboard instrument was the in fact the clavichord and he was not really known to be an organ virtuoso like his father. He composed relatively little for the organ but did write some sonatas music for the sister of Frederick II, the Great, Princess Anna Amalia of Prussia. This movement which is part of a three movement sonata was composed sometime around 1755. C.P.E. Bach was known as the “Berlin Bach” whilst he worked in Berlin and then the “Hamburg Bach” when he moved there to replace his godfather Telemann as Kapellmeister. This distinguished him from his brother J.C. Bach who was known as the “London Bach”. Close

First Movement Allegro from Sonata in B Flat K.358 piano duet

The First Movement from the Sonata for Piano Duet in Bb K.358 for piano 4 hands is an intermediate level piano duet. The realization plays back at a t Show More...

The First Movement from the Sonata for Piano Duet in Bb K.358 for piano 4 hands is an intermediate level piano duet. The realization plays back at a tempo of 144 quarter note (crotchet) beats to the minute. Mozart composed many piano duets which he would often perform with his elder sister Nannerl. A lightness of touch is required in a performance and all notes need to be clearly articulated. There is some lovely sharing of the melodic ideas in the ensemble. Playing Mozart requires a consistent and even approach and the avoidance of exaggerated playing. As far as the ornaments are concerned players should be imitating each other in their delivery. Trills played by both hands together do require careful practice The music editors view on the playing of ornaments is that they should be played simply, rhythmically and consistently. This is music that is very much about melody and accompaniment and it is important for players to communicate its charm and beauty. The first repeat is played in the realization and the second repeat marked in the sheet music score is typically omitted in a performance. There are not many crescendo markings evident in many of the piano duet scores available simply because much of Mozart’s keyboard music was written with the harpsichord in mind. The harpsichord is able to offer a contrasting range of dynamics but not a gradual increase (crescendo) or decrease in sound (diminuendo).The piano or more accurately the fortepiano invented by Christofori was work in progress during Mozart’s lifetime but essentially early pianos were much thinner toned instruments compared to the iron framed pianos familiar to modern ears. The fp indication loud going to soft is one more typically associated with both the instruments and piano music of Beethoven. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 144 quarter note beats (crotchet) to the minute, Accompaniment 2 at 132 quarter note beats (crotchet) to the minute and Accompaniment 3 at 120 quarter note beats (crotchet) to the minute There is a four bar count in featuring two different sounds of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Third Movement Molto presto from Sonata in B Flat K.358 piano duet

The Molto presto third movement of the Sonata for piano duet in B flat K.358 is a positive, joyous and like much of the composer’s music uplifting. Show More...

The Molto presto third movement of the Sonata for piano duet in B flat K.358 is a positive, joyous and like much of the composer’s music uplifting. The realisation plays back at a tempo of 108 half note (minim) beats to the minute. The first repeat is played in the realisation whilst the second repeat indicated in the sheet music score is not played. Multi-rests have not been used in the sheet music score but there are numbers in place indicating the empty bars in the sheet music score. This is a movement that does need to be played quickly and some of the tempi available on recordings are actually very challenging to play. The best advice is to start at a manageable tempo and then gradually increase it. The tempo of the movement as it is being played does however always need to be consistent. The music editor suggests setting a metronome to a half note (minim) beat minim beat in practice routines. There is opportunity for developing the “changing finger on a repeating note” technique and the playing of trills played by two hands requires careful practice. In the early stages of learning the movement the music editor suggests omitting the trills. For those wanting to see how the trills are played they can refer to the video score on our YouTube channel by clicking the appropriate link on the homepage of the website. The movement has many melodic shapes, textures and compositional processes characteristic of the composer and the music editor suggests that much can be learnt about the composer’s musical style by playing and listening to the piano duets. Mozart’s music always has a great sense of ensemble and his musical language is always consistent across the many musical forms that he embraced. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 108 quarter note beats (crotchet) to the minute, Accompaniment 2 at 104 quarter note beats (crotchet) to the minute and Accompaniment 3 at 104 quarter note beats (crotchet) to the minute There is a four bar count in featuring two different sounds of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Military March No.1 piano duet D

The Military March No. 1 Opus 51 D.733 was published in 1826 along with two other marches although it was more than likely composed some years before Show More...

The Military March No. 1 Opus 51 D.733 was published in 1826 along with two other marches although it was more than likely composed some years before this date. It was intended to be a teaching piece. The March is in the key of D with the Trio section in the sub-dominant key of G. This work for piano four hands or piano duet has become one of Schubert’s most popular works. There are many arrangements for a range of different instrument combinations. The music is both tuneful and rhythmic. The March and the succeeding Trio are both in AB binary form with the repeats being played. The March is repeated at the end of the Trio without repeats so the form in performance can be summarised by the letters AABBCCDDAB. The realisation plays back at a tempo of 120 quarter note (crotchet) beats to the minute which is a tempo the music editor suggests the music really comes alive. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 120 quarter note beats (crotchet) to the minute, Accompaniment 2 at 116 quarter note (crotchet) beats to the minute and Accompaniment 3 at 110 quarter note beats (crotchet) to the minute. There is a four bar count in with a woodblock sound. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Los Tres Golpes | The Three Knocks piano Am

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

Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for flute and piano enables flute players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for flute 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 84 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to A minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close

Los Tres Golpes | The Three Knocks piano Gm

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

Los Tres Golpes by the Cuban composer Cervantes explores the habanera pattern. The arrangement for trumpet in Bb and piano enables players to develop tone, articulation and dynamic range in their playing. The arrangement is scored for trumpet in Bb accompanied by the piano. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 80 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to G minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. Accompaniments are available playing at 80, 84 and 88bpm. They are recorded at 256kbps. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close

Study in Canon No.2 arr. two pianos

Composed in the key In the key A minor this movement in ABA ternary form has a haunting quality. The realisation plays back at 66 dotted quarter notes Show More...

Composed in the key In the key A minor this movement in ABA ternary form has a haunting quality. The realisation plays back at 66 dotted quarter notes to the minute. The voice leading particularly in the two top lines of the organ solo is often quite difficult to follow and that is why the piano duet version arranged by Bizet and the two piano version arranged by Debussy are well worth exploring. The music editor suggests slow practice in the first instance to ensure that the reading of the notes and accidentals is accurate. Chromaticism is a strong feature of this movement. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and as far (speeding up and slowing down) as far as tempo is concerned. There is a substantial amount of score detail in the sheet music scores particularly in respect to the articulation of notes. Players may well wish to make use of the piano sustaining pedal although its use has not been indicated in the sheet music score. In temperament, Schumann was quite insecure and the Studies in Canon perhaps reflect the need for a himto reacquaint himself with the discipline of counterpoint. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 72 dotted quarter (crotchet) note beats to the minute, Accompaniment 2 at 69 dotted quarter (crotchet) note beats to the minute, Accompaniment 3 at 66 quarter note beats (crotchet) to the minute and Accompaniment 4 at 63 quarter note beats to the minute. There is a two bar count in with the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Cantilene clarinet F

This arrangement for clarinet quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for three clarinets in B flat and bass clarin Show More...

This arrangement for clarinet quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for three clarinets in B flat and bass clarinet. Instrumental parts for individual instruments are appended to the full score. Accompaniments are also available allowing the clarinet 1 player to enjoy ensemble practice in context. There is a one bar eighth note (quaver) click track before the clarinets 2 and 3 and the bass clarinet start to sound. The accompaniments play back at 80, 84 and 88 eighth (quaver) notes to the minute. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. The movement is scored for three clarinets in B flat and bass clarinet. Instrumental parts for individual instruments are appended to the full score. Please advise the PlentyMusic office if you require an Eb clarinet included. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is actually very untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Clarinetists should play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts. The small decorative do not always sound in the realisations and are best omitted certainly when learning the piece. 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 parts all need to be played with rhythmic accuracy and security.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

Cantilene string F

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

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

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

Siciliana string trio Ab

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

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for clarinet quartet comprising 3 clarinets in B flat and bass clarinet. Individual parts Show More...

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for clarinet quartet comprising 3 clarinets in B flat and bass clarinet. 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 phyrgian 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

Spanish Dance No. 5 piano Gm

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for bassoon with piano accompaniment in the key of G minor. Piano accompaniments are avai Show More...

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for bassoon with piano accompaniment in the key of G minor. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. A bassoon part appropriately transposed is appended to the full score which is available as a pdf. 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 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

Ave Maria piano F no repeat

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825. This intermediate level arrangement from PlentyMus Show More...

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825. This intermediate level arrangement from PlentyMusic is for viola and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read. Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling violists to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. In this instance violists have the option of playing through the repeat an octave higher. 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

Variations on “Ich denke dein” piano duet

The 6 Variations with Coda “Ich denke dein” for piano duet (piano 4 hands) were composed in 1803 and published in 1805. A quite delightful set of Show More...

The 6 Variations with Coda “Ich denke dein” for piano duet (piano 4 hands) were composed in 1803 and published in 1805. A quite delightful set of variations based on a song melody with a text that roughly translates as “I think of you when the sun shimmers on the sea” which suggests that the composer belongs more to the romantic than the classical era. sf means suddenly loud and is one of Beethoven’s most used score markings as is not unsurprisingly fp meaning loud going to soft. In Beethoven’s music the surprise element is always strong particularly in respect to dynamics and rhythmic accents which are often placed on the weaker beats of the bar. Time signatures appear at the beginning of the theme and also the beginning of each variation. All movements apart from Variations 3 and 5 are in common time. Tempos in Variation 3 and 5 are more relaxed and slower with the music notated in 2/2 time. As his sketch books show, Beethoven was particular fond of re-working and revising his composition ideas but there is always purpose and a clear sense of direction in his music. Use of the sustaining pedal is recommended but has not been indicated in the score. The lines of music are rhythmically independent which makes playing the trills in Variation 4 challenging. Beethoven is always interested in developing piano technique and there is evidence of this particularly in Variation 4. This particular variation took the music editor as much time to prepare as the rest of the work put together! The music editor suggests omitting the ornaments particularly in this variation in the first instance. Any pianists/keyboard players not sure of how the ornaments should be played should refer to the video score on the YouTube channel to see a suggested solution. In the video score the ornaments written out in full and it sounds exactly as the realisation available as the mp3 from the website. The playing of ornaments is much more interesting and challenging in Beethoven’s time. The Primo and Secondo can be downloaded separately as “accompaniments” enabling players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on one channel of the stereo signal and the Secondo part sounds on the other. The tempos are as follows in quarter note beats to the bar with the second figure indicating the half note or minim beat tempos for variations 3 and 5. There are three accompaniments: Accompaniment 112/50 Accompaniment 2 108/48 Accompaniment 3 104/46. There is a four bar count in /click on the accompaniment mp3. When performing printing two pages of music on to one side of A4 offers a practical solution for players. Close

First Movement from Keyboard Sonata in C K.19d piano duet

The First Movement from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. The realization plays back at a tempo of Show More...

The First Movement from the Keyboard Sonata in C K.19d for piano 4 hands is an intermediate level piano duet. The realization plays back at a tempo of 60 half note (minim) beats to the minute. The music editor suggests 64 minim beats to the minute as an ideal tempo for playing the movement. A light touch is required in a performance and all notes need to be clearly articulated. Playing Mozart requires a very consistent and even approach and the avoidance of exaggeration. As far are ornaments are concerned players should be imitating each other in their delivery. The short trill is a simple 4 note shape. This is music that is very much about melody and accompaniment and it is important for players to communicate its charm and beauty. The music editor’s preference is for a dry acoustic which is appropriate for the music and instruments of the period. This sonata is likely to have been performed by the young Mozart with his elder sister Nannerl on a visit to London where the performing instrument was likely to have been a harpsichord. The music was only discovered in 1921 and whilst in the past it has been attributed to W.A Mozart the current view is that it was more probably composed by either his older sister Nannerl or his father Leopold. Suffice to say that much of Mozart's classical musical style is demonstrated in this sonata whichever one of the family composed it! The sonata has some very appealing musical content and as a work, most probably written by a child, it is interesting to play and compare to W.A. Mozart's later and more substantial piano 4 hands music such as the piano Sonata for Piano 4 hands in C K.521. There are several variants in terms of the scores available but the sheet music score and realisations are based on current performance practice. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo parts. The primo part sounds on the one channel of the stereo signal and the secondo part sounds on the other. Accompaniment 1 plays at 68 half note beats (minim) to the minute, Accompaniment 2 at 64 half note beats (minim) beats to the minute and Accompaniment 3 at 60 half note beats (minim) to the minute. There is a 4 bar count in featuring the sound of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Ave Maria classical guitar C with repeat

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 Show 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 classical guitar A no repeat

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

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825 This is an intermediate level flute arrangement with classical guitar accompaniment in the key of A and available from PlentyMusic as a pdf 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 both staff notation and TAB. 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

Le jardin de Dolly piano duet E

Le jardin de Dolly is the third movement of the Dolly Suite Opus 56 and was originally published as a piano duet. The realization score plays back at Show More...

Le jardin de Dolly is the third movement of the Dolly Suite Opus 56 and was originally published as a piano duet. The realization score plays back at a tempo of 72 quarter note (crotchet) beats to the minute. When performing the music there is an opportunity to slow down at the ends of phrases and then return to a tempo at the start of the next phrase and this approach is featured in both the realisation and the accompaniments. Gabriel Fauré’s Le jardin de Dolly is a lovely piano duet to play. Once you notice the detail of the scoring then you begin to appreciate the beauty of the writing and scoring. Use of the sustaining pedal to communicate the range of the harmonic colour is recommended and but not indicated in the sheet music score. The movement technically is not difficult to play but it does require careful reading and understanding of the contexts of the parts particularly when the melody moves to one of the inner parts. Too many duettists play this music too quickly which makes it rather abrupt as such and some of the reflective quality is lost. There are many recordings from both recent times and the recording archive which are worth exploring. The music editor was particularly impressed with the recording by Beatrice and Walter Klein who play the movement in an almost hushed secretive manner. The modal element that features in so much of Fauré’s music stems back to the fact that the composer like many French musicians was trained in the traditions of church music which referenced the old scales used particularly in the singing of plainchant. The two piano parts Primo and Secondo can be downloaded separately as “accompaniments” enabling players to enjoy an ensemble music experience playing either the Primo or Secondo part The Primo part sounds on the right channel of the stereo signal and the Secondo part sounds on the left channel. Accompaniment 1 plays at 76 quarter note beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 69 quarter note beats (crotchet) to the minute. There is a 4 bar click beat before the music starts playing to give a clear pulse to players. When performing printing two pages of music on to one side of A4 offers a practical solution for players Close

Traumerie piano F

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 Show 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

The Prophet Bird piano Bb

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

Study in Canon No.5 trio version cello & piano Bm

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

A quite vivid movement although one isn’t sure what Schumann is endeavouring to describe although from the music view a march pattern is suggested both by the time signature and the musical ideas. The arrangement for oboe, violoncello and piano has a playback tempo of 100 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 oboe and violoncello and in the final section between the piano and oboe. 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 oboe and violoncello are appended to the full score. Close

Study in Canon No.1 trio version cello & piano C

Study in Canon No.1 trio version cello & piano C

First Movement Allegro piano duet D

The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it Show More...

The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it has been described as a reduction of an Italian symphony and is contemporary with his opera Lucio Silla K.135 composed when he was aged 16. The First Movement: Allegro is typically Mozartian both in spirit and musical content. The realisation plays back at 144 quarter note (crotchet) beats to the minute. It is a very purposeful movement requiring light hands which is perhaps a musical element difficult to suggest in a realisation. The repeats although marked in the score are not played. There is plenty of opportunity for players to fine tune their playing of legato and staccato touches and to develop tremolo playing. The music editor favours a dry acoustic in recordings enabling clarity in the communication of the music. Accompaniments in mp3 format recorded at 256kbps which have a 4 bar count in are available at 120, 132 and 144 quarter note (crotchet) beats to the minute. For those needing more information on how to play the ornaments refer to the video score on our YouTube channel where the ornaments have been written out to give clarity to what is a confusing area. When learning a movement it is often best to omit the ornamentation in the first instance. Close

First Movement Allegro piano duet D

The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it Show More...

The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it has been described as a reduction of an Italian symphony and is contemporary with his opera Lucio Silla K.135 composed when he was aged 16. The First Movement: Allegro is typically Mozartian both in spirit and musical content. The realisation plays back at 144 quarter note (crotchet) beats to the minute. It is a very purposeful movement requiring light hands which is perhaps a musical element difficult to suggest in a realisation. The repeats although marked in the score are not played. There is plenty of opportunity for players to fine tune their playing of legato and staccato touches and to develop tremolo playing. The music editor favours a dry acoustic in recordings enabling clarity in the communication of the music. Accompaniments in mp3 format recorded at 256kbps which have a 4 bar count in are available at 120, 132 and 144 quarter note (crotchet) beats to the minute. For those needing more information on how to play the ornaments refer to the video score on our YouTube channel where the ornaments have been written out to give clarity to what is a confusing area. When learning a movement it is often best to omit the ornamentation in the first instance. Close

Off to California guitar chords G

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 se Show More...

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

Study in Canon No.2 trio version bass clarinet & piano Am

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

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for clarinet in Bb, bass clarinet and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the flute part to accommodate the range of the instrument. Parts for the clarinet in Bb and bass clarinet appropriately transposed are appended to the full score. The music editor would like to hear from bass clarinet players as to the practicality of playing the low notes in the 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 clarinet in Bb part as a solo. The piano and bass clarinet sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close

Study in Canon No.2 trio version bassoon & piano Am

Study in Canon No.2 trio version baritone saxophone & piano Am

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

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

Study in Canon No.2 trio version Am tenor saxophone & piano Am

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

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

Study in Canon No.2 trio version tenor saxophone & piano Am

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

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

Study in Canon No.3 trio version clarinet in A & piano E

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin and the clarinet in A for the viol Show More...

This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin and the clarinet in A for the violoncello. 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 flute 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 very practical solution for players. Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close

Study in Canon No.2 trio version Am cello & piano

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

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this 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.2 trio version Am cello & piano

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

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this 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 piano duet Ab

The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the ro Show More...

The Studies in Canon Opus 56 of Schumann are perfect pieces for the music student because they refer to the past with the chromatic language of the romantic period and are ordered and appealing music 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 direct imitating or copying. The realisation in the video score is clearly not as nuanced as a live performance. Pianists should approach playing thee Opus 56 pieces with a lightness in the hands ensuring that there is clarity in their understanding of the musical texture. The texture is transparent 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. There is value in pianists playing through the lines to understand the imitation processes that are incorporated in the score. The music included in Robert Schumann’s Opus 56 collection has been arranged by Georges Bizet for piano duet and Claude Debussy for two pianos and in these arrangements the composing principles of canon and imitation aspects are much easier to explore. Players need to pay attention to the rhythmic detail and the chromatic detail. The mordents have been written out in the video score although the music editor suggests omitting the small decorative/ornamental notes in the early stages of learning the movement. The uses 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. In the video score each line of music is associated with a stave and so the music is presented slightly differently to how it appears in the sheet music score. The video score plays at 72 quaver beats from bar 1 – 18 and and then in the piu mosso section at 80 eighth notes (quaver) to the minute. Pianists will need to ensure that the reading of the notes and accidentals is accurate as the chromatic element in the movement is strong . 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) as far as tempo is concerned. Players may well wish to make use of the piano sustaining pedal although its use has not been indicated in the sheet music score. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo part. The primo part sounds on the one side of the stereo channel channel and the secondo on the other. 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. 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 then 88 eighth (quaver) note beats to the minute. Accompaniment 4 plays at 80 eighth (quaver) note beats to the minute in the first section and then 90 eighth (quaver) note beats to the minute.Accompaniment 5 plays at 82 eighth (quaver) note beats to the minute in the first section and then 92 eighth (quaver) note beats to the minute. There is a two bar eighth note (quaver) count in to the sound of a woodblock. In a performance situation printing two pages of music onto one side of A4 offers a practical solution for players. Close

Study in Canon No.6 trio version trombone and piano Bb

This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expandi Show More...

This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music to be enjoyed by a chamber group. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 64 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the trumpet in Bb player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a trombone and require just the piano sounding in the accompaniment. Close

Off to California guitar chords G

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 se Show More...

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

Third Movement Allegro molto piano duet D

The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it Show More...

The Sonata for Piano Duet in D K.381 was composed time between 1772-74 and was written for Mozart to play with his elder sister Nannerl. As a work it has been described as a reduction of an Italian symphony and is contemporary with his opera Lucio Silla K.135 composed when he was aged 16. The First Movement: Allegro is typically Mozartian both in spirit and musical content. The realisation plays back at 144 quarter note (crotchet) beats to the minute. It is a very purposeful movement requiring light hands which is perhaps a musical element difficult to suggest in a realisation. The repeats although marked in the score are not played. There is plenty of opportunity for players to fine tune their playing of legato and staccato touches and to develop tremolo playing. The music editor favours a dry acoustic in recordings enabling clarity in the communication of the music. Accompaniments in mp3 format recorded at 256kbps which have a 4 bar count in are available at 120, 132, 138 and 144 quarter note (crotchet) beats to the minute. For those needing more information on how to play the ornaments refer to the video score on our YouTube channel where the ornaments have been written out to give clarity to what is a confusing area. When learning a movement it is often best to omit the ornamentation in the first instance. Close

Study in Canon No.2 arr. piano duet

Composed in the key In the key A minor this movement in ABA ternary form has a haunting quality. The realisation plays back at 66 dotted quarter notes Show More...

Composed in the key In the key A minor this movement in ABA ternary form has a haunting quality. The realisation plays back at 66 dotted quarter notes to the minute. The voice leading particularly in the two top lines of the organ solo is often quite difficult to follow and that is why the piano duet version arranged by Bizet and the two piano version arranged by Debussy are well worth exploring. The music editor suggests slow practice in the first instance to ensure that the reading of the notes and accidentals is accurate. Chromaticism is a strong feature of this movement. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and as far (speeding up and slowing down) as far as tempo is concerned. There is a substantial amount of score detail in the sheet music scores particularly in respect to the articulation of notes. Players may well wish to make use of the piano sustaining pedal although its use has not been indicated in the sheet music score. In temperament, Schumann was quite insecure and the Studies in Canon perhaps reflect the need for a himto reacquaint himself with the discipline of counterpoint. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 72 dotted quarter (crotchet) note beats to the minute, Accompaniment 2 at 69 dotted quarter (crotchet) note beats to the minute, Accompaniment 3 at 66 quarter note beats (crotchet) to the minute and Accompaniment 4 at 63 quarter note beats to the minute. There is a two bar count in with the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Study in Canon No.1 arr. piano duet C

A movement with beauty, shape and a sense of space. The imitation principle is understandably very strong in this work composed, the music editor unde Show More...

A movement with beauty, shape and a sense of space. The imitation principle is understandably very strong in this work composed, the music editor understands, when Schumann was intent on restoring rigour and confidence to his own compositional process. For the players there is surprisingly intensity and discipline needed to play this relatively short movement. Whilst this music references the past there is a romantic twist or two in the harmonic language. A tempo of 84 quarter note (crotchet) beats to the minute is used in the realisation. Trills begin on the note and have been written out in the first section of the score in the ossia staves. Understand that the melodic and rhythmic shapes of the ornaments are constant throughout the whole movement. The French word for study is Etude and those who develop or have developed a keen interest in music will be very aware of the many musical challenges associated with this word! Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently arranged for piano duet / piano four hands by Georges Bizet. There are also other versions for organ, two pianos and string quartet. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 76 quarter note (crotchet) beats to the minute and Accompaniment 3 at 72 quarter note beats (crotchet) to the minute and Accompaniment 4 at 68 quarter note beats to the minute.. There is a two bar count in with the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Study in Canon No.2 arr. piano duet Am

Composed in the key In the key A minor this movement in ABA ternary form has a haunting quality. The realisation plays back at 66 dotted quarter notes Show More...

Composed in the key In the key A minor this movement in ABA ternary form has a haunting quality. The realisation plays back at 66 dotted quarter notes to the minute. The voice leading particularly in the two top lines of the organ solo is often quite difficult to follow and that is why the piano duet version arranged by Bizet and the two piano version arranged by Debussy are well worth exploring. The music editor suggests slow practice in the first instance to ensure that the reading of the notes and accidentals is accurate. Chromaticism is a strong feature of this movement. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and as far (speeding up and slowing down) as far as tempo is concerned. There is a substantial amount of score detail in the sheet music scores particularly in respect to the articulation of notes. Players may well wish to make use of the piano sustaining pedal although its use has not been indicated in the sheet music score. In temperament, Schumann was quite insecure and the Studies in Canon perhaps reflect the need for a himto reacquaint himself with the discipline of counterpoint. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 72 dotted quarter (crotchet) note beats to the minute, Accompaniment 2 at 69 dotted quarter (crotchet) note beats to the minute, Accompaniment 3 at 66 quarter note beats (crotchet) to the minute and Accompaniment 4 at 63 quarter note beats to the minute. There is a two bar count in with the sound of a woodblock. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Soirée Polka piano duet C

Foster’s “ Soirée Polka” is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups alth Show More...

Foster’s “ Soirée Polka” is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played with a lightness of touch. A tempo of 108 quarter note (crotchet) beats to the minute is used in the playback score. The polka is a lively folk dance full of character originating from the area now known as Czechia (Bohemia). 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. 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 composer’s work so it was impossible for him to earn a decent living. There are a number of variants of this piece in existence so don’t be concerned if you familiar with a slightly different version. The two piano parts primo and secondo can be downloaded separately as mp3 accompaniments enabling players to enjoy an ensemble music experience playing either the primo or secondo part. The primo part sounds on one side of the stereo channel and the secondo part on the other. Accompaniment 1 plays at 108 quarter note beats (crotchet) to the minute, Accompaniment 2 at 104 quarter note (crotchet) beats to the minute, Accompaniment 3 at 100 quarter note beats (crotchet) to the minute and Accompaniment 4 at 96 quarter note beats (crotchet) to the minute.There is a 4 bar click beat before the music starts playing to give a pulse and tempo indication for players. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Soirée Polka arr. piano duet C

Foster’s “ Soirée Polka” is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups alth Show More...

Foster’s “ Soirée Polka” is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played with a lightness of touch. A tempo of 108 quarter note (crotchet) beats to the minute is used in the playback score. The polka is a lively folk dance full of character originating from the area now known as Czechia (Bohemia). 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. 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 composer’s work so it was impossible for him to earn a decent living. There are a number of variants of this piece in existence so don’t be concerned if you familiar with a slightly different version. The two piano parts primo and secondo can be downloaded separately as mp3 accompaniments enabling players to enjoy an ensemble music experience playing either the primo or secondo part. The primo part sounds on one side of the stereo channel and the secondo part on the other. Accompaniment 1 plays at 108 quarter note beats (crotchet) to the minute, Accompaniment 2 at 104 quarter note (crotchet) beats to the minute, Accompaniment 3 at 100 quarter note beats (crotchet) to the minute and Accompaniment 4 at 96 quarter note beats (crotchet) to the minute.There is a 4 bar click beat before the music starts playing to give a pulse and tempo indication for players. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

Rondo from Opus 6 No.2 arr. piano duet D

The Sonata in D for piano four hands Opus 6 was published in 1797. A rondo is a piece with a recurring theme and typically used as a last movement by Show More...

The Sonata in D for piano four hands Opus 6 was published in 1797. A rondo is a piece with a recurring theme and typically used as a last movement by Beethoven in his sonatas and concertos. They frequently contain music and melodic ideas that express the composer’s sunnier and uplifting side. The Rondo from Opus 6 offers a great opportunity for pianists to develop their ensemble playing skills. The playback tempo in the video score is 112 quarter note (crotchet) beats to the minute. The sustaining pedal can and should be used in a performance although it has not been indicated in the score. Clarity in the articulation of the musical ideas is essential in a successful performance and the contrast between legato and staccato playing can be explored to the full in a performance. Beethoven’s music always has clear harmonic direction and a strong sense of drama. He is also great one for exploring musical form and the dynamic element of music and these elements are evident in what is a relatively early published work. In the video score the ornaments are written out in full. There is always great clarity of intention in the composer’s compositional approach. Accents in Beethoven’s music are quite often placed on the weaker beats of the bar to which help gives his music its characteristic restlessness. Maintaining the rhythmic independence of the musical lines is an important consideration in a performance of the movement. The loud going to soft marking fp is a very characteristic Beethoven score marking. sf in the music score indicates what is known as a forzando or a forceful accent. In the video score the ornaments have also been written out in full. The score layout is ideal for auditioning the movement as a video although the sheet music scores from the PlentyMusic website have Primo and Secondo parts separated onto different pages as is the convention for piano duets. The primo and secondo parts can be downloaded separately as “accompaniments” enabling players to enjoy an ensemble music experience playing either the primo or secondo parts. The primo part sounds on the one channel of the stereo signal and the secondo part sounds on the other. The tempos are as follows in quarter note beats to the bar Accompaniment 1 plays at 116 quarter note (crotchet) beats to the minute, Accompaniment 2 at 112 quarter note (crotchet) note beats Accompaniment 3 at 108 quarter note (crotchet) note beats and Accompaniment 4 at 104 quarter note (crotchet) note beats. There is a four bar count in /click introduction on the accompaniment mp3 files which are recorded at 256kbps.When performing printing two pages of music on to one side of A4 offers a practical solution for players. It is a good idea for players to use a metronome in their preparation. Close

Mi-a-ou piano duet F

Mi-a-ou is the second movement of the Dolly Suite Opus 56 which was originally published as a piano duet. The realisation score plays back at a tempo Show More...

Mi-a-ou is the second movement of the Dolly Suite Opus 56 which was originally published as a piano duet. The realisation score plays back at a tempo of 72 dotted half beats (minim) beats to the minute although there is a slower section towards the end of the movement. The tempo needs to be brisk but controlled. Some use of the sustaining pedal to communicate the range of the harmonic colour is recommended in one or two sections but is not indicated in the sheet music score. The writing is very pianistic in the sense that there are not too many technical difficulties and the chords fall nicely for the fingers. Rehearsal markings are in place in the score. Duettists will need to play with a lightness in the hands and there needs to be clarity in the articulation of the melodic ideas. Fauré as a composer is capable of writing music that has great appeal for both player and audience. The rhythmic detail is always interesting and the combination of a chromatic harmony with the add reference to the modal past gives the music a modern context. There are many recordings from both recent times and the recording archive which are worth exploring. The two piano parts Primo and Secondo can be downloaded as mp3 accompaniments enabling players to enjoy an ensemble music experience playing either the Primo or Secondo part The Primo part sounds on the right channel of the stereo signal and the Secondo part sounds on the left channel. Accompaniment 1 plays at 76 dotted half notes to the minute beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 69 quarter note beats (crotchet) to the minute. There is a 4 bar click beat before the music starts playing to give a clear pulse to players. The accompaniments have been recorded at a bit rate 256 kbps. When performing printing two pages of music on to one side of A4 offers a practical solution for players. The accompaniments will be uploaded in the next few days. Close

Mi-a-ou piano piano duet F

Mi-a-ou is the second movement of the Dolly Suite Opus 56 which was originally published as a piano duet. The realisation score plays back at a tempo Show More...

Mi-a-ou is the second movement of the Dolly Suite Opus 56 which was originally published as a piano duet. The realisation score plays back at a tempo of 72 dotted half beats (minim) beats to the minute although there is a slower section towards the end of the movement. The tempo needs to be brisk but controlled. Some use of the sustaining pedal to communicate the range of the harmonic colour is recommended in one or two sections but is not indicated in the sheet music score. The writing is very pianistic in the sense that there are not too many technical difficulties and the chords fall nicely for the fingers. Rehearsal markings are in place in the score. Duettists will need to play with a lightness in the hands and there needs to be clarity in the articulation of the melodic ideas. Fauré as a composer is capable of writing music that has great appeal for both player and audience. The rhythmic detail is always interesting and the combination of a chromatic harmony with the add reference to the modal past gives the music a modern context. There are many recordings from both recent times and the recording archive which are worth exploring. The two piano parts Primo and Secondo can be downloaded as mp3 accompaniments enabling players to enjoy an ensemble music experience playing either the Primo or Secondo part The Primo part sounds on the right channel of the stereo signal and the Secondo part sounds on the left channel. Accompaniment 1 plays at 76 dotted half notes to the minute beats (crotchet) to the minute, Accompaniment 2 at 72 quarter note (crotchet) beats to the minute and Accompaniment 3 at 69 quarter note beats (crotchet) to the minute. There is a 4 bar click beat before the music starts playing to give a clear pulse to players. The accompaniments have been recorded at a bit rate 256 kbps. When performing printing two pages of music on to one side of A4 offers a practical solution for players. The accompaniments will be uploaded in the next few days. Close

Kitty-Valse piano duet Eb

Kitty-Valse is the fourth movement of the Dolly Suite Opus 56 originally published as a piano duet. The music needs to be played with a light one in a Show More...

Kitty-Valse is the fourth movement of the Dolly Suite Opus 56 originally published as a piano duet. The music needs to be played with a light one in a bar feel. Fauré as a composer is capable of writing music that has great appeal for both player and audience. The rhythmic detail is always interesting and the combination of a chromatic harmony with the added reference to the modal past gives the music a modern context. There are many recordings from both recent times and the recording archive which are worth exploring. The video score plays back at a tempo of 69 dotted half beats is the fourth movement of the (minim) beats to the minute. Some use of the sustaining pedal to communicate the range of the harmonic colour is recommended but is not indicated in the sheet music score. The realisation is possibly lacking in a lightness of touch that the music editor suggests is needed. Duettists will need to play with a lightness in the hands which is not altogether suggested in the playback of the video score. Additionally, there is probably a context for tempo rubato when playing this movement. The two piano parts primo and secondo can be downloaded as accompaniments enabling players to enjoy an ensemble music experience playing either the primo or secondo part The primo part sounds on one side of the stereo signal and the secondo part sounds on the other. Accompaniment 1 plays at 69 dotted half notes (minim) beats to the minute, Accompaniment 2 at 66 dotted half note (minim) beats to the minute Accompaniment 3 at 63 dotted half note beats (mimim) to the minute and Accompaniment 4 at 60 dotted minim beats. There is a 4 bar click beat before the music starts playing to give a clear pulse to players. The accompaniments have been recorded at a bit rate 256 kbps. When performing printing two pages of music on to one side of A4 offers a practical solution for players. Close

Kitty-Valse piano duet Eb

Kitty-Valse is the fourth movement of the Dolly Suite Opus 56 originally published as a piano duet. The music needs to be played with a light one in a Show More...

Kitty-Valse is the fourth movement of the Dolly Suite Opus 56 originally published as a piano duet. The music needs to be played with a light one in a bar feel. Fauré as a composer is capable of writing music that has great appeal for both player and audience. The rhythmic detail is always interesting and the combination of a chromatic harmony with the added reference to the modal past gives the music a modern context. There are many recordings from both recent times and the recording archive which are worth exploring. The video score plays back at a tempo of 69 dotted half beats is the fourth movement of the (minim) beats to the minute. Some use of the sustaining pedal to communicate the range of the harmonic colour is recommended but is not indicated in the sheet music score. The realisation is possibly lacking in a lightness of touch that the music editor suggests is needed. Duettists will need to play with a lightness in the hands which is not altogether suggested in the playback of the video score. Additionally, there is probably a context for tempo rubato when playing this movement. The two piano parts primo and secondo can be downloaded as accompaniments enabling players to enjoy an ensemble music experience playing either the primo or secondo part The primo part sounds on one side of the stereo signal and the secondo part sounds on the other. Accompaniment 1 plays at 69 dotted half notes (minim) beats to the minute, Accompaniment 2 at 66 dotted half note (minim) beats to the minute Accompaniment 3 at 63 dotted half note beats (mimim) to the minute and Accompaniment 4 at 60 dotted minim beats. There is a 4 bar click beat before the music starts playing to give a clear pulse to players. The accompaniments have been recorded at a bit rate 256 kbps. When performing printing two pages of music on to one side of A4 offers a practical solution for players. Close

Sicilienne piano Gm

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

A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing 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 violoncello part notated in the tenor and bass clefs is appended to the full score but the con sordina instruction at bar 69 is not actioned in the realisation. 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

Sicilienne piano Am

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

A sicilienne is a slow tempo movement usually in a minor key with lilting rhythmic patterns and dotted notes enabling it to be described as a slow jig. This movement dates from 1893 and exists in several different arrangements. Fauré’s music possesses subtlety and as a composer he has a great awareness of instrument colour. Careful attention needs to be paid to the reading of accidentals as frequently different voices are sounding in what seem to be conflicting versions of a note. This is attributable to the modal element that it is a strong component of Fauré’s music. Apart from this, attention needs to be made to the reading of the notes and the score detail particularly in respect to knowing which notes are tied. In preparing 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 generally only at the beginning of scores. 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 – the music editor’s view is that many performances of the work are played too quickly. A solo instrumental part notated in the treble and bass clef is appended to the full score. In this arrangement A minor is the chosen key although G minor is the natural and most appropriate key for the work. G minor is however a challenging key for the double bass player whilst the work is definitely playable in A minor. The music editor would appreciate receiving an informed opinion about key options for this work. Piano accompaniments are available at 50 and 48 dotted quarter note (crotchet) beats to the minute. Close

Après un rêve piano Cm

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. 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

Après un rêve piano Gm

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement transposed to G minor a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. A solo tuba in part is appended to the full score. The music editor is interested in hearing feedback as to the appropriateness of the choice of key. Accompaniments are available and play at the following tempi (1) 58 (2) 56 (3) 54 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 piano Dm

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. 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

Spanish Dance No.2 piano Gm

In this arrangement for tenors saxophone with piano accompaniment of Moszkowski’s Spanish Dance No. 2 Opus 12 the realisation plays back at 135 quar Show More...

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

Nel cor piu mi sento piano G

Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...

Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A violoncello part is appended to the full score. Close

Nel cor piu mi sento piano D

Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...

Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A viola part is appended to the full score. Close

Nel cor piu mi sento piano Eb

Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a th Show More...

Paisiello was an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 54 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A tuba part is appended to the full score. Close

Nel cor piu mi sento piano F

Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melod Show More...

Paisiello was known as an opera composer and his best known melody “Nel cor più mi sento” is from his opera La Molinara. Beethoven used the melody as a theme for a set of piano variations in his Works without opus number 70 (WoO70). Paisiello became a Naples based composer contemporary with Cimararosa and Piccini although he was always very jealous of any rivals work wherever he worked and this included Paris, for Napoleon and St. Petersburg for Catherine II. Naples in the 18th and early 19th century was an important musical centre with the San Carlo Opera Theatre opening in 1737. There are many tunes from the past that are worthy of being re-discovered and this arrangement is intended for improver level instrumentalists. Bar 26 has been re written as a 9/8 bar simply to clarify how the ornaments should be played. The realisation plays back at a tempo of 56 dotted quarter note beats (crotchet) to the minute and accompaniments are available at this and two other tempi (1 = 56, 2 = 54 and 3 = 52 dotted quarter note beats to the bar). The repeat is not played in the playback score but is in the accompaniment track. The Italian term Adagio has been used to describe the tempo in the sheet music scores. Note that the pause markings are ignored in the accompaniments but for those musicians playing with a pianist there is an opportunity to pause on the indicated sheet music markings and even create a break in the music. The movement does need to be played with a clear sense of pulse and rhythmic awareness whilst ornaments need to be played with rhythmic clarity. Aspiring composers may well be challenged to compose some variations as a composition study. You are always welcome to send a copy of your work to the PlentyMusic office for an opinion! This piece of music can competently played by an improver level student and is suited to being played by most instruments. The music editor also suggests listening to performances by singers who often approach the repeat with great freedom and further embellish the music. This is not necessarily to imitate but to learn about how to perform music. The advice to any young performer is to always have the confidence to make the piece your own. The accompanist also has the option of experimenting with the articulations particularly if the intention is to create the sound of pizzicato strings. A horn in F (French horn) part appropriately transposed is appended to the full score. Close

Tarantella guitar G

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 Show 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

La biondina in gondoleta guitar G

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

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature several. This is an improver level arrangement for two acoustic guitars 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. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments (Guitar 2) are available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. Close

La biondina in gondoleta piano G

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

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

La biondina in gondoleta piano F

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

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The word barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” features several. This is an improver level arrangement with the realisation playing back at a tempo of 63 dotted quarter note (crotchet) beats to the minute. In this arrangement for trumpet in Bb with piano accompaniment the sounding key is F. This is an excellent performance piece because the melody is appealing and familiar. Players should be aiming for a lightness in their approach and a legato in their playing. Time spent listening to recordings of this melody particularly by singers will help players learn how to approach a musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A trumpet in Bb part appropriately transposed is appended to the full score. Close

La biondina in gondoleta piano Eb

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

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

La biondina in gondoleta piano D

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

The origins of this piece are as a Venetian song about gondolas (boats) and gondoliers (those steering and propelling the boats). Themes often expressed by gondoliers do tend to be about the romantic side of life. The words barcarola or barcarolle are used to describe the folk songs sung by Venetian gondoliers and they are usually in 6/8 time and played at a moderate tempo featuring a rhythmic pattern reminiscent of the gondolier’s oar stroke. Romantic composers were particularly fond of composing barcarolles and Mendelssohn’s “Song without Words” feature 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 viola with piano accompaniment the sounding key is D. 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 musical performance. Accompaniments are also available at tempos of 66, 63 and 60 dotted quarter note beats (crotchet) beats to the minute. A viola part is appended to the full score. Close

None but the Lonely Heart piano D

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 Show 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. Viola 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. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A viola part is appended to the sheet music score. Close

None but the Lonely Heart piano Db

None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...

None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Trumpet players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A trumpet in Bb part appropriately transposed is appended to the sheet music score. Close

None but the Lonely Heart piano Eb

None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...

None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Tuba players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A tuba part is appended to the sheet music score. Close

None but the Lonely Heart piano F

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 Show 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. Oboe 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. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. An English horn part appropriately transposed is appended to the sheet music score. Close

None but the Lonely Heart marimba & acoustic guitar D

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 Show 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 2 acoustic guitars D

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 Show 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

Sweet Dreams guitar C

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 Show 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 piano Bb

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

This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such indicative score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The clarinet range is also explored in this particular arrangement. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a clarinet in Bb 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

Sweet Dreams piano C

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

This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. 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

Neapolitan Song piano Eb

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

This is an arrangement for trombone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the trombone part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A trombone part is appended to the full music score in the pdf download. Close

Neapolitan Song piano D

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

This is an arrangement for flute with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realisation is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. There is the option of playing the repeat an octave higher than written and the first note of the flute part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A flute part is appended to the full music score in the pdf download. Close

Neapolitan Song guitar D

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 Show 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

October piano Dm

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

October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same 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 tenor saxophone part appropriately transposed 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

October piano Em

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

October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same 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 violoncello part notated in the tenor clef 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

October piano Em

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

October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same 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 violoncello part notated in the tenor clef 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

Shenandoah guitar D

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

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for 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

Fantasy Piece No. 1 piano Am

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

Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 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

Shenandoah piano Eb

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

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s.The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in Eb is for tuba accompanied by piano. The tuba player also has the option of playing the repeat an octave higher. The playback tempo is 84 quarter note beats to the minute and a tuba part is appended to the full score. Close

Shenandoah piano D

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

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for violoncello accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a violoncello part is appended to the full score. Close

Shenandoah piano F

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

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement sounding in F is for trombone accompanied by piano. The playback tempo is 84 quarter note beats to the minute and a trombone part is appended to the full score. Close

Skye Boat Song piano Eb

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

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instruments. 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 tenor player has the option of playing the repeat whilst a tenor horn 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

Skye Boat Song piano F

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

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel The repeat is optional and a trumpet in B flat part is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close

Skye Boat Song piano G

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

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time. This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The repeat is optional whilst a violoncello part is appended to the full score. There are three piano accompaniments available playing at (1) 48 (2) 50 (3) 52 dotted quarter note (crotchet) beats to the minute. Close

Skye Boat Song guitar G

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

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. The marimba player has the option of playing the repeat chorus at the octave. There is also supporting TAB for the guitar player. There are three guitar accompaniments available at tempi of (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close

Skye Boat Song 2 guitars G

In this arrangement for flute accompanied by two acoustic guitars, one guitar plays chords with standard guitar tuning whilst the other has its sixth Show More...

In this arrangement for flute accompanied by two acoustic guitars, one guitar plays chords with standard guitar tuning whilst the other has its sixth string tuned to D, (usually described as dropped down D tuning) and plays a patterned accompaniment. This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst the song’s text describes the escape of Bonnie Prince Charles it is often sung as a lullaby. This improver level arrangement is in 6/8 time. In this arrangement the accompanying chords have been updated to make the setting more contemporary. There is no introduction in order to keep the phrase structure balanced. There are three accompaniments featuring two acoustic guitars playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close

The Last Rose of Summer guitar D

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

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

The Last Rose of Summer piano D

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

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

The Last Rose of Summer piano Eb

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

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

The Last Rose of Summer piano F

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

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

Over the Waves piano G

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 Show 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 guitar G

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 Show 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 piano F

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 Show 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 tenor saxophone part appropriately transposed is appended to the music score. Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 58 dotted half note (minim) beats to the minute. Close

Over the Waves piano Bb

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

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

The Happy Farmer piano F

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 mov Show More...

A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life.This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for viola accompanied by the piano. The solo part is appended to the piano score. There is a two bar click count in on the accompaniment track. Close

The Happy Farmer piano G

A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tem Show More...

A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for oboe accompanied by the piano. The solo oboe part is appended to the piano score. Close

The Happy Farmer guitar & bass G

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 Show More...

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

Mi Teresita piano D

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 Show More...

Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for violoncello accompanied by the piano the sounding key is D. Violoncello 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 violoncello 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

Mi Teresita piano Eb

Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and sp Show More...

Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for soprano saxophone accompanied by the piano sounding in the key of Eb, the soloist should be aiming for a beautiful legato and focusing on the tonal quality of their playing. The movement should not be played too quickly and there is a captivating closing section. The considerable range of dynamics also needs to be explored in a performance. Rubato is an aspect of the performance that players can consider although it is not featured in the realization. The melody is reminiscent of something that might feature in a music box and it is a pity that a lilting quality isn’t quite represented in the realization. A soprano saxophone part appropriately transposed is appended to the full score. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 128 Accompaniment (2) 124 and Accompaniment (3) 120 quarter note (crotchet) beats to the minute. Close

Mi Teresita piano F

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 Show More...

Teresa Carreño 1853 – 1917 was a Venezuelan concert pianist and composer whose career spanned a period of 54 years. Known for her powerful and spirited playing she earned the title from her Berlin years as the “Valkyrie of the piano.” She was closely associated with the music of Edward MacDowell, a pupil, premiering several of his works and also the music of Amy Beach. She lived in the USA and Berlin which became her base for her years in Europe. Her schedule of concerts and the longevity of her career suggests that she was very hard working. A superb player of octaves she possessed a powerful tone and great strength. She travelled widely performing in Europe including the Henry Wood Proms, USA and Australia. Henry Wood wrote that "It is difficult to express adequately what all musicians felt about this great woman who looked like a queen among pianists - and played like a goddess.” She must indeed have been a larger than life character because over 100 years after her death her legacy remains strong and there are player piano recordings of her work available. “Mi Teresita” (Little Waltz ) composed in 1885 for her daughter Teresita was one of her most popular pieces during her lifetime and often performed as an encore at her own concerts. In this arrangement for viola accompanied by the piano the sounding key is F. Violists 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 viola 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

The Easy Winners solo + piano G

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

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for flute and piano the sounding key is G. The realisation tempo is 76 quarter quarter note (crotchet) beats to the minute and the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note (crotchet) beats to the minute sounds quite slow and yet 80 quarter note (crotchet) 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

The Easy Winners solo + piano Ab

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

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for tuba and piano the sounding key is Ab. The realisation tempo is 72 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 72, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close

The Easy Winners duet + piano G

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for 2 flutes and piano the Show More...

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for 2 flutes and piano the sounding key is G whilst the realisation tempo is 76 quarter note (crotchet) beats to the minute with the repeats not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. The two flute parts have been appended together so as to allow players to perhaps share the repeats. 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

The Easy Winners duet + piano Ab

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

This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement for trumpet in Bb, trombone and piano the sounding key is Ab whilst the realisation tempo is at 76 quarter note (crotchet) beats to the minute and the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Trumpet in Bb and trombone parts are appended to the full score. Piano accompaniments are available as mp3 downloads at tempi of 72, 72, and 68 quarter note (crotchet) beats to the minute. The repeats are played in the accompaniments and there is a four bar count in at the beginning with bar 4 being silent. Close

The Easy Winners guitar G

n this arrangement for two acoustic guitars in G the realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not pl Show More...

n this arrangement for two acoustic guitars in G the realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. Individual instrument parts are appended to the full score. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Guitar accompaniments (Acoustic Guitar 2 sounding) 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. Close

The Teddy Bears Picnic piano F

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for alto saxophone with piano accompaniment in the key of F a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. Observe that the full score has the alto saxophone notated at pitch whilst the appended solo part has the same part appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet) to the minute. Close

The Teddy Bears Picnic piano Eb

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for trumpet in Bb with piano accompaniment sounding in the key of Eb a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as heard in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there does not have to be many variations of tempo. Observe that the full score has the trumpet in Bb part notated at pitch whilst the appended solo part is appropriately transposed. There are three piano accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note (crotchet) beats to the minute. Close

The Teddy Bears Picnic pitched percussion C

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this ar Show More...

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this arrangement for pitched percussion instruments (such as marimba and vibraphone) in the key of C a tempo of 96 dotted quarter notes is used in the realisation. Players can chose to play a shortened form ending on the first eighth note (quaver) of bar 88. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. The two marimba players parts are shown in full score and these instruments are also used in the realisation. There is one pitched percussion 2 accompaniment available playing at a tempo of 96 dotted quarter note beats (crotchet) to the minute. Close

The Teddy Bears Picnic guitar C

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. Show More...

This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content has since been rearranged. In this arrangement for two acoustic guitars in the key of C a tempo of 96 dotted quarter notes is used in the realisation. Instrumentalists have the option of playing a shortened form of the piece ending on the first eighth note (quaver) of bar 88 or playing the repeat section as demonstrated in the realisation. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. The music for both guitar players is shown in the full score. There are three Guitar 2 accompaniments available playing at (1) 96 (2) 92 (3) 88 dotted quarter note beats (crotchet)to the minute. Close

Scarborough Fair piano Dm

An arrangement for soprano saxophone and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (mi Show More...

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

Scarborough Fair piano Dm

An arrangement for soprano saxophone and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (mi Show More...

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

Scarborough Fair piano Em

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

An arrangement for violoncello and piano of this popular English folk song in the dorian mode. The realisation plays at 50 dotted half notes (minim) beats to the minute. The melody section is repeated 4 times by the solo instrumentalist and it is the piano accompaniment that is varied for each verse. The arrangement has been designed very much to build confidence in solo playing working alongside a competent accompanist. Texturally the music is quite sparse which helps give it a haunting quality. The accompanist may wish to add some sustaining pedal although this has not been indicated in the score. The lyrics for the song are well worth a read through because they identify many of the challenges of modern living despite having their origins as an English ballad written many centuries ago. A violoncello 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

La Paloma piano D

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 Show 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 cello part is also appended to the full music score and there is an accompaniment available. Close

La Paloma piano G

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 Show 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 flute part is appended to the full music score and an accompaniment is available. Close

La Paloma piano F

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 Show 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 viola part is appended to the full music score and there is a piano accompaniment available. Close

La Paloma piano Bb

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 Show 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 clarinet part, transposed to the appropriate key, is also appended to the full music score. An accompaniment is also available. Close

Down By The Riverside piano C

Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African A Show More...

Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African American spiritual. There are many recorded versions dating as far back as the 1920’s and It was also familiar as an anti-war protest song during the Vietnam war. There are many versions of the lyrics which include Old Testament bible references. There are fine performances to be discovered by traditional jazz bands and singers that explore traditional, gospel and contemporary popular music styles. This arrangement sounds in the key of C and features syncopation in a march style. It is as an excellent introduction for learning to play in the 20th century popular idiom. A flute part is appended to the full score. There is one accompaniment available that plays back at a tempo of 84 half note or minim beats to the minute. Close

Down By The Riverside piano Eb

Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African A Show More...

Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African American spiritual. There are many recorded versions dating as far back as the 1920’s and It was also familiar as an anti-war protest song during the Vietnam war. There are many versions of the lyrics which include Old Testament bible references. There are fine performances to be discovered by traditional jazz bands and singers that explore traditional, gospel and contemporary popular music styles. This arrangement sounds in the key of Eb and features syncopation in a march style. It is as an excellent introduction for learning to play in the 20th century popular idiom. An alto saxophone part appropriately transposed is appended to the full score. There is one accompaniment available that plays back at a tempo of 84 half note or minim beats to the minute. Close

Down By The Riverside piano F

Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African A Show More...

Down By The Riverside is a song that dates back to before the American Civil War but was not published until 1918. It can be described as an African American spiritual. There are many recorded versions dating as far back as the 1920’s and It was also familiar as an anti-war protest song during the Vietnam war. There are many versions of the lyrics which include Old Testament bible references. There are fine performances to be discovered by traditional jazz bands and singers that explore traditional, gospel and contemporary popular music styles. This arrangement sounds in the key of F and features syncopation in a march style. It is as an excellent introduction for learning to play in the 20th century popular idiom. A clarinet in Bb part appropriately transposed is appended to the full score. There is one accompaniment available that plays back at a tempo of 84 half note or minim beats to the minute. Close

Odeon piano Dm

This arrangement of Odeon for trombone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation Show More...

This arrangement of Odeon for trombone and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed up a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A trombone part appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close

Odeon piano C#m

This arrangement of Odeon for violoncello and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisati Show More...

This arrangement of Odeon for violoncello and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music is in its original key although where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The violoncello part is notated in the tenor and bass clef and there is a part appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girdling or swaying in a dance context. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close

Odeon piano Cm

This arrangement of Odeon for clarinet in Bb and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realis Show More...

This arrangement of Odeon for clarinet in Bb and piano is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. It is also a movement with a wide melodic range. In this particular arrangement the music has been transposed down a semitone from its original key and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. A clarinet in Bb part appropriately transposed is appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling. The accompanist needs to have quite a percussive approach in their playing to communicate the rhythmic detail and energy of the movement. There are three piano accompaniments available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close

Odeon guitar & bass Dm

This arrangement of Odeon for marimba, acoustic guitar and string/upright bass is a lively rhythmic movement full of energy featuring many syncopated Show More...

This arrangement of Odeon for marimba, acoustic guitar and string/upright bass is a lively rhythmic movement full of energy featuring many syncopated patterns with the realisation playing back at a tempo of 88 quarter note or crotchet beats to the minute. In this particular arrangement the music has been transposed up a semitone and where necessary there are some octave transpositions in the melody line to keep within the instrument’s range. The three individual instrument parts are also appended to the full score. The repetition element is quite strong as is typical of a piece of popular music whilst the form of the movement can be represented by the letters AABBACCA. Nazareth was a Brazilian composer and pianist whose compositional style absorbs many different influences including Brazilian, European, African and ragtime. As a composer Nazareth was particularly influenced by Chopin. The small ornamental notes can be added when the piece is able to be played competently. The score details in the composer’s hands is written in his native Portuguese and the words bright and dry are used along with the word gingando which means girgling or swaying in a dance context. The acoustic guitar and string bass as accompanying instruments needs to be played quite percussively communicate the energy of the movement. There are accompaniments featuring acoustic guitar and string bass available at tempi of 96, 92 and 88 quarter note (crotchet) beats to the minute with the repeats being played. Close

Czardas guitar Dm

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

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show 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 violoncello part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close

Czardas piano Am

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show 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! A bassoon part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close

Czardas piano Cm

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show 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 but soon quicken to an Allegro vivace tempo. Everyone needs to enjoy a performance of this music. The simple advice is to make your performance your own! A clarinet part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close

Czardas piano Fm

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show 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! A baritone saxophone part is appended to the full score. There are two accompaniments available one with repeats and the second without them. Close

Czardas piano Gm

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show 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 viola part is appended to the full score. There are two accompaniments available (1) with repeats and (2) without repeats. Close

Czardas marimba Dm

A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Show 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. Marimba players may wish to share the part playing when the repeats are played. 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! There are marimba accompaniments available (1) with repeats and (2) without repeats. Close

When the saints go marching in piano C

When The Saints Go Marching In arranged for pitched percussion (a marimba sounds in the realisation) and piano in the key of C. The playback tempo is Show More...

When The Saints Go Marching In arranged for pitched percussion (a marimba sounds in the realisation) and piano in the key of C. 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 marimba part is appended to the full score and a piano accompaniment is also available. Close

When the saints go marching in piano F

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

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

When the saints go marching in guitar & bass D

When The Saints Go Marching In arranged for pitched percussion (marimba), acoustic guitar and bass guitar in the key of D. The playback tempo is 100 Show More...

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

When the saints go marching in piano D

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 Show 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

The Swan piano F

Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...

Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A trumpet in Bb part appropriately transposed is appended to the full score. The music editor is interested in hearing from trumpet players as to other keys options for this piece because available recordings suggest that there is more than one option. This version sounds in the key of F. There are 4 accompaniments available playing at 75,72, 69 and 66 quarter note (crotchet) beats to the minute. Close

The Swan piano G

Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...

Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A violoncello part notated in the tenor clef is appended to the full score.There are three 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

The Swan piano Bb

Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be Show More...

Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A euphonium part notated in the treble clef is appended to the full score. Four accompaniments are also available. Close

Le Banjo piano F

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

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

Le Banjo piano G

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

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

Tico-Tico piano Am

In this arrangement of Tico-Tico for marimba with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 8 Show More...

In this arrangement of Tico-Tico for marimba with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. A marimba part is appended to the full score. The piece is structured into three sections and the formal pattern of the realization played with repeats can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments are available as mp3 downloads playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close

Tico-Tico piano Cm

In this arrangement of Tico-Tico for soprano saxophone with piano accompaniment the sounding key is C minor/major and a tempo of 84 quarter note (crot Show More...

In this arrangement of Tico-Tico for soprano saxophone with piano accompaniment the sounding key is C minor/major and a tempo of 84 quarter note (crotchet) beats to the minute is used in the realization in which the repeats are played. The soprano saxophone part appropriately transposed is also appended to the full score. The piece is structured into three sections and the formal pattern can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments are available as mp3 downloads playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close

Tico-Tico guitar Am

In this arrangement of Tico-Tico for marimba and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 qua Show More...

In this arrangement of Tico-Tico for marimba and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. The appended part for the acoustic guitar also has a TAB chart to support the conventionally notated copy. The piece is structured into three sections and formally can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version and is a piece that has travelled widely in various formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Accompaniments featuring the acoustic guitar can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute. Close

Tico-Tico guitar & bass Am

In this arrangement of Tico-Tico for marimba, acoustic guitar and string bass the sounding key is A minor/major and the realization plays back at a te Show More...

In this arrangement of Tico-Tico for marimba, acoustic guitar and string bass the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. This syncopated piece is structured into three sections which can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Individual instrument parts are appended to the full score and accompaniments featuring the acoustic guitar and string bass can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute. Close

Romantic Piece No.1 piano Bb no repeats

A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...

A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for violoncello 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 violoncello 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

Romantic Piece No.1 piano Bb with repeats

A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...

A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for violoncello 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 violoncello 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

Romantic Piece No.1 piano Db no repeats

A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...

A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for tenor horn accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A tenor horn part is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close

Romantic Piece No.1 piano Db with repeats

A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to Show More...

A simply beautiful piece of music of chamber music possibly deserving of a more inspiring title than simply Romantic Piece No. 1 Opus 75 but suited to being played by a number of solo instruments although its origins are as a violin and piano piece. It dates from early 1887. In this arrangement for tenor horn accompanied by piano there is considerable dynamic detail and any performance needs to reference this aspect of the score detail. The tempo of the playback in the realisation is 104 quarter note (crotchet) beats to the minute. This is an excellent piece for players keen to improve their tone and legato playing as it has a very song like and melodic character. Great space is created in the accompaniment figuration which has an almost Bach quality whilst the harmonic language and at times the texture clearly belong to the late 19th century. The music editor suggested pedalling is in place for parts of the movement with the pedalling effectively changing every time the bass note is changed. The repeats are not played in the realisation. Antonín Dvorák is described as Czech composer with his work incorporating rhythms and musical features of folk music from Moravia and his native Bohemia. Like many of his contemporaries of the late romantic era who lived on what were considered to be, at the time, the peripheries of Europe, he is often described as a nationalist composer. Dvorák’s compositional style is influenced by Brahms although his works have a very individual style possessing a great sense of energy and anticipation of the new century. A tenor horn part is appended to the full score. Two accompaniments are available (1) without repeats and (2) with repeats playing back at a tempo of 104 quarter note (crotchet) beats to the minute. Close

Pavane pour une infante défuncte piano F

The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...

The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for trombone with piano accompaniment sounds in the key of F. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A trombone part is appended to the full score. Close

Pavane pour une infante défuncte piano G

The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...

The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for viola 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 viola part is appended to the full score. Close

Pavane pour une infante défuncte piano A

The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was populari Show More...

The origins of the music are as a piano piece composed in 1899 when Ravel was studying with Fauré. It exists in several arrangements and was popularised as a piano piece by the Spanish pianist Ricardo Viñes. Players should be aiming for both legato and beauty of tone in their playing. The music editor suggests an initial tempo of 63 quarter note beats to the minute in the first instance and as confidence and competence grows possibly slowing the tempo. The aspect of performing music at the correct tempo in a slow piece is quite challenging for players. This is quite a full arrangement for the solo player. However because of its sectional structure A (12 bars) B (7 bars) B’ (8 bars) A’ (12 bars) C (10 bars )C’ (10 bars) A’’ (13 bars). It becomes an easy matter to shorten the arrangement by simply omitting some of the repeating sections. Players may wish to advise the PlentyMusic Office of some fine tuning that the arrangement requires in respect to its playability. If there is a need for some cut down or shortened accompaniments please again advise the PlentyMusic Office and these will be made available. There are several arrangements of this music in existence and the intention of this one has been to keep as close to the original piano score as possible. This arrangement for clarinet in A with piano accompaniment is in the key of A. The pavane has its origins as an Italian 16th century slow stately dance. Referencing past musical forms in their works became popular among Ravel’s contemporaries including Debussy. The cue sized decorative notes can be omitted whilst the piece in the early stages of studying the piece. The realisation plays back at a tempo of 60 quarter note (crotchet) beats to the minute and there are opportunities for give and take in the tempo particularly at the end of phrases. This is an ambitious and complete arrangement Ravel’s piece. Time does need to be spent understanding the musical texture and the lines of music. The composer’s own language has also been retained in the language used in the score The chromatic sections require careful study in terms of the notes to be played whilst the phrase endings often explore parallel movement in a characteristic sweep. Ravel frequently avoids the use of thirds in final chords of sections. The barring that is in place is to help the player to make the rhythmic connections in the movement. Performers should listen to a number of different performances played by different instruments to get a good overview of how the music can be best performed. The bold ending is a very characteristic feature of the original piano score and the suggestion is that it should be retained. The use of the piano sustaining pedal markings are not indicated in the score but its use is required. There are three piano accompaniments available at tempi of 1=63, 2=60 and 3=57 quarter note beats to the minute. A clarinet in A part appropriately transposed is appended to the full score. Close

Off to California bass guitar G

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

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep personnel fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. This arrangement includes both conventional notation and TAB and players can possibly explore the folk rock style in their ensemble playing. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line. The score is presented with minimal score detail as is usually the case with folk music. Understand that the playing of ornaments whilst very relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the bass guitar playing the bass line at tempi of (1) 132 (2) 120 and (3) 110 quarter note (crotchet) beats to the minute.There is two bar click track introduction before the music starts to play. Close

Off to California marimba G

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

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to encourage fitness. 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 in any performance situation. 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 playback sounds are of a marimba but there may be other instrument options available to the percussionists to try. Understand that folk music scores are generally presented with minimal score detail. 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 accompaniment 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

Off to California bassoon G

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

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to encourage fitness. 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 when performing music in this style. In this arrangement for oboe and bassoon 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 also no ornamentation of the melodic line in this two part version. Understand that folk music scores are generally presented with minimal score detail. 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 even 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 bassoon 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

Off to California cello G

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

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep 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

Off to California bass clarinet F

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

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to both encourage fitness. 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 when performing this style of music. In this arrangement for clarinet in Bb and bass clarinet in Bb 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. Folk music scores are generally presented with minimal score detail as is the case with 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 both geography and even locality. A study of ornamentation in folk music the music editor suggests is not for the faint hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the bass clarinet 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

Manchega piano D

Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...

Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate the composer’s virtuoso piano playing. The playback tempo in the playback score is 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

Manchega piano Eb

Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique a Show More...

Manchega originates as a concert étude for piano – an etude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate Gottschalk’s virtuoso playing. The playback tempo in the playback score is 58 dotted quarter note (crotchet) beats to the minute. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section sounds in the key of Eb and the B section in Gb. The repeat does not sound in the playback. There has been some re-scoring but not re-writing of the original material. This is an excellent piece for developing 3 v 2 playing which is such a characteristic element of Spanish and music based on Spanish models. The music editor suggests practicing the music slowly in the first instance so that all rhythmic shapes and patterns are secure. If you do spend time listening to the music of Gottschalk one senses the underlying influence of Chopin. As the repetitive element in the movement is strong there is an opportunity to explore the dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music. A trumpet in Bb part appropriately transposed is appended to the full score. The small ornamental notes do not sound in the realization and the music editor suggests leaving them out certainly during the learning of the piece. It is then up to the player’s own discretion whether to play them or not. Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. Piano accompaniments are also available for download in mp3 format at tempi of Accompaniment (1) 63 Accompaniment (2) 60 and Accompaniment (3) 57 dotted quarter note (crotchet) beats to the minute. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. The music editor worked from an old print copy of the work and there were several ambiguities in the score so any feedback on detail would be much appreciated. Close

Manchega piano F

Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate technique Show More...

Manchega originates as a concert étude for piano – an étude in music is a study. Such movements are intended to improve and demonstrate technique and in the context of the original arrangement was intended to demonstrate Gottschalk’s virtuoso playing. The playback tempo in the playback score is 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 sounds in D and the B section in F. The repeat does not play 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. A viola part is appended to the full score. The small ornamental or acciaccaturas (crushed) notes are probably best left out during the learning of the piece. It is then up to the player’s own discretion either playing or not playing them. There is a strong influence of Chopin in the music of Gottschalk. As the repetitive element in the movement is strong there is an opportunity to explore articulation, tonal and dynamic range in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows access to the music Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist born in New Orleans who spent most of his performing career touring and giving concerts. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. Three accompaniments are available playing at 63, 60 and 57 dotted quarter (crotchet) beats to the minute. Close

Manchega 2 guitars D

This music was published in 1860. This arrangement for mandolin and two acoustic guitars has a playback tempo of 60 dotted quarter note (crotchet) bea Show More...

This music was published in 1860. This arrangement for mandolin and two acoustic guitars has a playback tempo of 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. Gottschalk’s music is influenced by Chopin. As the repetitive element in the movement is strong there is an opportunity to explore articulation, tonal quality and dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows ready access to the music. Individual parts for the three instruments are appended to the full score The small ornamental notes in the mandolin part (acciaccaturas or crushed notes) do not sound in the realization. The music editor suggests leaving them out certainly during the learning of the piece. It is then up to the player’s own discretion as whether to play them or not. The two acoustic guitar parts are available as accompaniments and can be downloaded as mp3 files 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. 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. He was often referred to as the greatest pianist from the “New World.” Chopin, Liszt and Alkan were great admirers of his talent. His compositions established him as one of the first identifiable American composers. In his music it is possible to hear a mix of American Creole, African-American and European music traditions. His early works in particularly are imbued with the sounds that he heard in his youth in Louisiana. The syncopated nature of his music anticipates many of the characteristics of later American ragtime and jazz music. The mandolin may want to explore playing some of the sections at a different octave and in respect to this the PlentyMusic team would appreciate feedback. Close

Manchega 2 marimbas Eb

This music was published in 1860! This pitched percussion arrangement is or 3 marimba players has a plays back tempo of 60 dotted quarter note (crotch Show More...

This music was published in 1860! This pitched percussion arrangement is or 3 marimba players has a plays back tempo of 60 dotted quarter note (crotchet) beats to the minute in the realization. The music editor has left the articulations markings from his masterscore simply because they help players understand the music even though many of the markings do not have a context in this particular arrangement. The movement in ABA (Ternary form) which was very much the standard form during the romantic period. Composers needed to follow the conventions of their time to ensure the patterns of their music were readily recognized by audiences. The A section is in Eb and the Gb 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. Gottschalk’s writing is influenced byChopin. As the repetitive element in the movement is strong there is an opportunity to explore articulations and dynamics in a performance. The music editor suggests that this movement along with much of Gottschalk’s music is worth discovering particularly in arrangements where the playing level allows ready access to the music. Individual parts for the three instruments are appended to the full score. Marimba parts 2 and 3 are available as an accompaniment and can be downloaded as mp3 files 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 in what must have been a very challenging working life. 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. 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

First Movement from Trio Sonata piano Eb

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

Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The sounding key is Eb and the tempo of 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 clarinet part appropriately transposed is appended to the full score. There are three piano accompaniments available at tempos of (1) 68 (2) 66 and (3) 64 quarter note (crotchet) beats to the minute. Each accompaniment has a click track at the opening to give the tempo enabling players to play the upbeat in time. Close

First Movement from Trio Sonata piano F

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

Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime known 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 music has been transposed to sound in the key of F and the tempo in the realisation plays at 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. Accompanists 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 trombone 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

First Movement from Trio Sonata piano G

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

Giovanni Battista Pergolesi became a Naples based composer from 1725 when the city was an important musical centre. His life sadly was cut short by illness but he did become a well-known composer in his lifetime particularly for his Stabat Mater and opera buffa. The music editor’s approach has simply been to present an arrangement for solo instrument with piano accompaniment. There is no baroque or for that matter classical preoccupation with the challenge for the performer being to present what is a charming and appealing piece of music in a performing context. The tempo of the realisation in the realisation plays at 63quarter 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. Accompanists 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 trombone 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

Andante tranquillo from Organ Sonata Opus 65 No.3 woodwind accompaniment

An intermediate level arrangement for wind quintet of a movement from a Mendelssohn organ sonata. Scored for flute, oboe, clarinet in A, French horn ( Show More...

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

Andante tranquillo from Organ Sonata Opus 65 No.3 string accompaniment

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

Andante tranquillo from Organ Sonata Opus 65 No.3 saxophone accompaniment

An intermediate level arrangement for saxophone quintet of a movement from a Mendelssohn organ sonata. Scored for soprano, 2 alto, tenor and baritone Show More...

An intermediate level arrangement for saxophone quintet of a movement from a Mendelssohn organ sonata. Scored for soprano, 2 alto, tenor and baritone saxophones, individual parts for instrumentalists are appended to the full score available as a pdf download from PlentyMusic. mp3 accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute enabling soprano saxophone players to participate in ensemble activities as part of their practice routines. Should more accompaniments be needed possibly for other instruments in the ensemble please advise the PlentyMusic Office. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially a chorale or hymn much in keeping with the chorale of J. S. Bach although Mendelssohn’s harmonic language is chromatic rather than diatonic. There is opportunity to slow down and pause at the ends of phrases although there is only one such marking in the sheet music score. Playing chorale arrangements like this are excellent for developing ensemble playing and good intonation. The realisation plays back at 72 quarter note beats to the minute. Mendelssohn was an extremely popular composer in England. Described as a romantic composer he leans more to the classical line of the tradition along with composers Schubert (1797 – 1828) Chopin (1810 – 1849) and Brahms (1833- 1897) rather than the more radical represented by Berlioz (1803 – 1869), Liszt (1811 – 1886), and Wagner (1813-1883). Schumann (1810 - 1856) is the composer who interestingly links the two threads. Close

Andante tranquillo from Organ Sonata Opus 65 No.3 clarinet accompaniment

An intermediate level arrangement for clarinet quintet of a movement from a Mendelssohn organ sonata. Scored for 4 clarinets in Bb and a bass clarinet Show More...

An intermediate level arrangement for clarinet quintet of a movement from a Mendelssohn organ sonata. Scored for 4 clarinets in Bb and a bass clarinet, 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 Opus 65 No.3 transposed to sound in the key of Bb. It is essentially a chorale or hymn much in keeping with the chorale of J. S. Bach although Mendelssohn’s harmonic language is chromatic rather than diatonic. There is opportunity to slow down and pause at the ends of phrases although there is only one such marking in the sheet music score. There are some octave transpositions in the flute and oboe parts. Playing chorale arrangements like this are excellent for developing ensemble playing and good intonation. A generally quiet movement, clarinet players should be aiming for a legato in their playing. The realisation plays back at 72 quarter note beats to the minute. mp3 accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute enabling clarinet in Bb 1 players to participate in ensemble activities as part of their practice routines. Should there be a requirement for a clarinet in Eb part to substitute for the Clarinet in Bb 1 part please advise the PlentyMusic office. Mendelssohn was an extremely popular composer in England. Described as a romantic composer he leans more to the classical line of the tradition along with composers Schubert (1797 – 1828) Chopin (1810 – 1849) and Brahms (1833- 1897) rather than the more radical represented by Berlioz (1803 – 1869), Liszt (1811 – 1886), and Wagner (1813-1883). Schumann (1810 - 1856) is the composer who interestingly links the two threads. Close

Andante tranquillo from Organ Sonata Opus 65 No.3 brass accompaniment

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

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

Sururu na cidade piano Cm

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

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 88 quarter note beats to the minute and the repeats are played. The music of Brazil is a fascinating mix of European and African cultures with the Choro or Lament instrumental style having its origins in 19th century urban Rio de Janeiro (Chorinho = Little Lament). Whilst the inference of the title suggests a style that is sad, pieces can often have a fast and happy rhythms with syncopation, modulations and counterpoint. There are also particularly instruments associated with the performance of this music namely the flute, guitar and a small type of guitar with 4 strings known as the cavaquino which may have either play a melody or a chord rhythm. From the sheet music point of view this is a very concisely notated piece. From bar 38 there is the option of playing the repeat of the C section at the octave as indicated in the score. A clarinet part is appended to the full score. Close

Sururu na cidade piano Em

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

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

Sururu na cidade piano Dm

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

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

Sururu na cidade piano Em

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

Zequinha Abreu was a Brazilian musician and composer and Sururú na Cidade translates as Sururú in the City. The rondo form of Sururú na Cidade can be summarised as Intro A B B A C C A. The realisation plays back at a tempo of 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. Some performers play the repeat of the C section at the octave as indicated in the score but this is optional. A flute part is appended to the full score. Close

Jeanie with the light brown hair piano F

A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...

A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo trombone part is appended to the full score. Close

Jeanie with the light brown hair piano D

A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...

A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo violin part is appended to the full score. Close

Jeanie with the light brown hair guitar D

This is an arrangement for a duo comprising flute and acoustic guitar of a parlour song by Stephen Foster dating from 1854 and whilst it has become a Show More...

This is an arrangement for a duo comprising flute and acoustic guitar 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. Close

Jeanie with the light brown hair piano Eb

A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Fos Show More...

A parlour song by Stephen Foster dating from 1854 and whilst it has become a favourite, the song was not a commercial success and hardly known in Foster's own lifetime. A version by the violinist Heifetz became very popular in the 1940's. The musical arrangement retains the harmonic outline of Stephen Foster's song although some of the rhythmic detail of the melody has been edited. Although the crushed notes (acciaccaturas) can be played and sound in the realisation, the small ornamental notes in the melody line of the arrangement are optional and are not sounded in the realisation. A solo trumpet part appropriately transposed is appended to the full score. Close

Swing Low, Sweet Chariot piano G

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

This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for oboe and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. An oboe part is appended to the full score. Close

Swing Low, Sweet Chariot piano F

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

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

Swing Low, Sweet Chariot piano Eb

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

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

Swing Low, Sweet Chariot acoustic guitar G

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

This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for 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 acoustic guitar G without repeat

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

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

Gymnopedie No.1 acoustic guitar D

Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Show More...

Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. His Gymnopedie No. 1 is an attractive melodic piece which was composed and published in 1888. The accompanying guitar needs the lowest string to be tuned to the note D. Close

Gymnopedie No.1 piano D

Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Show More...

Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. His Gymnopedie No. 1 is an attractive melodic piece which was orchestrated by Debussy. Satie's writings and works influenced many of the avant-garde movements established in Paris in the early 20th century. Close

Santa Lucia piano C no repeat

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

Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. An oboe part is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given! Close

Santa Lucia piano Bb no repeat

Santa Lucia piano Eb no repeat

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

Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A trumpet in B flat part appropriately transposed is appended to the full score. As this will be a familiar melody to any audience the piece will need to be known thoroughly before any performance is given. Close

Santa Lucia piano D no repeat

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

Santa Lucia has its origins as a Neapolitan song with its lyrics celebrating the outdoor lives of boatmen who lived and worked in the Bay of Naples in what sound to be very happy times. The repeat is not played in the realisation but in performance can be added. Instrument players should be aiming to develop their legato playing and quality of tone when playing the piece and there are opportunities to slow the tempo at the ends of phrases although this is not indicated in the score. Players may well want to also edit the phrasing because there are options available. A tempo of 100 quarter note (crotchet) beats is used in the playback. A 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

Norwegian Dance No.2 piano duet A

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 Show More...

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 very fortunate in that he was able to source several folk music collections on which to compose and arrange music. 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. There is opportunity for some subtle changes in tempo particularly at the ends of sections and these feature in the realisations. The sustaining pedal needs to be used in the playing of the movement and many of the chords are played in a spread or arpeggiated pattern. The melodic and rhythmic shapes of the movement are both strong and this is an excellent performance piece. There are also many arrangements of the piece to be explored for various combinations of instruments. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the Primo or Secondo parts. The Primo part sounds on the one channel of the stereo signal and the Secondo part sounds on the other. Accompaniment 1 plays at 68 quarter note beats (crotchet) to the minute and 112 quarter note beats (crotchet) to the minute for the faster section, Accompaniment 2 at 66 quarter note beats (crotchet) to the minute and 108 quarter note beats (crotchet) to the minute for the faster section, Accompaniment 3 at 64 quarter note beats (crotchet) to the minute and 104 quarter note beats (crotchet) to the minute for the faster section There is a four bar count in featuring two different sounds of a wood block. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close

No Bailes Más! | Dance No More piano D

No Bailes Más! | Dance No More piano Eb

No Bailes Más! | Dance No More piano F

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

Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847 who 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 the realisation sounds in the key of F and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An oboe part is appended to the full score. Close

No Bailes Más! | Dance No More piano G

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

Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847 who 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 and the realisation sounds in the key of G and plays at a tempo of 88 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape features strongly. An individual flute part is appended to the full score. Close

Minuet in G piano G

A very appealing and familiar movement from the treasure trove of Beethoven’s works WoO (Without Opus number) Originally composed for orchestra, the Show 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 movement full of character and humour and this arrangement is for flute 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 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. 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. Accompaniment 1 has a tempo of 100 quarter note (crotchet) beats for the Minuet and 110 for the Trio section, Accompaniment 2 has a tempo of 104 quarter note (crotchet) beats for the Minuet and 116 for the Trio section, Accompaniment 3 has a tempo of 108 quarter note (crotchet) beats for the Minuet and 116 for the Trio section and Accompaniment 4 has a tempo of 110 quarter note (crotchet) beats for the Minuet and 120 for the Trio section. This score was reviewed and revised with accompaniments added in 2022. A flute part is appended to the music score. Close

Berceuse | Dolly Suite piano E

Berceuse | Dolly Suite two guitars E

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 Show 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 too 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. The modal element that features in much of Faure's music is also evident in this arrangement. Guitar players may like to explore the octave options, the use of harmonics and the voicing of the final chord. Individual guitar parts are also appended to the full score. An acoustic guitar duet accompaniment is 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

Any Rags? piano G

Any Rags? piano F

An arrangement for clarinet in Bb with piano accompaniment of the chorus of Any Rags? that demonstrates many of the essential elements of an emerging Show More...

An arrangement for clarinet in Bb with piano accompaniment of the chorus of Any Rags? that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of F whilst the clarinet part is appropriately transposed. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close