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

Tarantella guitar Am

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

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

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

Shenandoah acoustic 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 flute accompanied by acoustic guitar. The playback tempo is 84 quarter note beats to the minute. This score has the acoustic guitar part in both conventional notation and TAB. 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

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

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 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

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

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

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

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

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

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 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

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 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 | 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 | 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

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

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

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

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

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

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

Sinfonia 11 classical guitar 2 & 3 Dm

Serenade classical guitar C

Serenade by R. Hoffstetter is a movement from a familiar classical string quartet. In this improver / intermediate level arrangement for classical gu Show More...

Serenade by R. Hoffstetter is a movement from a familiar classical string quartet. In this improver / intermediate level arrangement for classical guitar duo the sounding key is C whilst the PlentyMusic sheet music realisation plays back at 94 quarter note (crotchet) beats to the minute. mp3 guitar accompaniments are also available to download. This is an arrangement for classical guitar duo of this appealing movement from the string quartet repertoire. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In performance, the articulation of the notes needs to be consistent - the melody is to be played legato and the plucked guitar accompaniment provides an agreeable and appropriate sound. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested whilst the score is marked Andante cantabile. A flute part is appended to the full score which is available as a pdf download from the website. The repeats do not play in the realisation. mp3 classical guitar accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. Similarly the repeats are not played in these recordings. The guitar part is based on the chord sequence used by Hoffstetter and requires a finger style approach. An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic score the appoggiaturas (leaning notes) have been notated as they are to be played while the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. Actually most of the crushed notes do not sound in the realisation due to the limitations of the samples used. This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. There is also a strong repetitive element that requires the music to played with both simplicity and consistency. The melody can be played with some differences to the phrasing and articulations indicated and suggested in the score. The ornaments, acciaccaturas (crushed notes) which are always a confusing element in music performance are probably best omitted in the early stages of playing the movement. The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity. Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. The score was updated in 2023. Close

Serenade electric guitar & bass guitar

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

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

Serenade classical guitar & upright bass

Serenade by R. Hoffstetter is a movement from a popular classical string quartet. This arrangement is for a trio of flute, classical guitar and uprigh Show More...

Serenade by R. Hoffstetter is a movement from a popular classical string quartet. This arrangement is for a trio of flute, classical guitar and upright bass. The tempo indication is Andante cantabile whilst the PlentyMusic sheet music realisation plays back at 94 quarter note (crotchet) beats to the minute. Improve music practice strategies and learn about classical music by downloading this sheet music score and accompaniments from PlentyMusic. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato with the plucked accompaniments on an acoustic guitar and upright or acoustic bass offering suitable contrast. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested while individual instrument parts are appended to the full score available as a pdf download from the website. The repeats which are not marked in the video score do not play in the realisation or video score. mp3 accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments feature the classical guitar and upright bass sounds although in a performance other instruments could be substituted. This is a PlentyMusic mix and match arrangement giving flute players the opportunity to practice in an ensemble context with a variety of instrument options. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments to establish the tempo. An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. It is also appropriate as a performance piece for a wedding, graduation or presentation where music appropriate for a formal occasion is needed. The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. In the video score all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) are probably best omitted in the early stages of playing the movement and are an option in a music performance. This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element the music needs to be played with both simplicity and consistency. The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity. Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close

Valse Sentimentale classical guitar G

A melody that is hauntingly beautiful characterises this encore and shortened version of Tchaikovsky’s Valse Sentimental. This intermediate level ar Show More...

A melody that is hauntingly beautiful characterises this encore and shortened version of Tchaikovsky’s Valse Sentimental. This intermediate level arrangement for flute and classical or acoustic is a cut down version of Opus 51 No.6. and features an alternative ending which simplifies Tchaikovsky’s original cadenza like coda. The guitar part is a simplified version of the piano part with the music transposed to the key of G. The guitar part is presented both in standard notation & TAB. Guitar accompaniments are available playing at 40, 42, and 44 beats per minute where the beat is a dotted half note or minim. Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 40 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. The bracketed notes in the accompaniment are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments in his music probably better than anybody else. Close

Two Part Invention No.1 | guitar duo

J.S.Bach’s Invention No. 1 BWV 772 is an intermediate level movement can be played on a range of keyboard instruments and by a number of instrument Show More...

J.S.Bach’s Invention No. 1 BWV 772 is an intermediate level movement can be played on a range of keyboard instruments and by a number of instrument combinations. In this arrangement for two classical guitars accompaniments are in place enabling guitar players to enjoy ensemble practice as part of their music practice routines. They play at 56, 58, 60, 62 and 64 beats per minute (bpm). Guitar 1 sounds on one side of the stereo channel while Guitar 2 sounds on the other side of the stereo channel. The music has also been transposed from the originally key of C to F purely on the basis that this explores the appropriate range of the instrument. Remember too that the guitar is a transposing instrument and sounds an octave lower than written. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce and inform musicians of the composition techniques of the baroque. They are excellent pieces for developing a sound and secure technique as well as providing excellent ensemble playing opportunities. The playback tempo of the realisation is 60 beats per minute (bpm) and the music editor suggests omitting the ornaments when learning the piece. For those wishing clarification on how the ornaments should t be played refer to the piano version video score on the PlentyMusic YouTube channel. In this video score the ornaments have been written out in full to clarify how they should be played. The music editor suggests that they are probably not such a relevant addition in this arrangement. The music score is available as a pdf download from the PlentyMusic website whilst the accompaniments can be downloaded as mp3 files. The sheet music download has a Tab score in place on the appended indivual parts. The key journey of the movement is confined to the closely related keys of the dominant (bar 7), relative minor (bar 15) and sub-dominant (bar 20). Keys, understand, are not always established as such but are described as passing modulations in the baroque era. A key or change of key is generally thought of being established when there is a cadence which tends to be more the case in music from the classical era. Tempo is one of the most challenging questions when playing the Bach’s 15 Two part inventions. The music editor suggests that there is often a tendency to play these movements too quickly. The opening motif or melodic idea is quite short in this work whilst musical ideas are repeated and imitated by the two voices. The inversion of musical ideas is a particularly strong feature in this invention. The use of sequence is another compositional process readily identifiable. Close

Two Part Invention No.6 | guitar duo

The invention has been transposed to the key of G. The guitar as a transposing instrument sounds an octave lower than written. TAB scores are also ava Show More...

The invention has been transposed to the key of G. The guitar as a transposing instrument sounds an octave lower than written. TAB scores are also available. Accompaniments are in place allowing guitarists to participate in ensemble activities as part of their practice routines. Guitar 1 sounds on one side of the stereo channel and Guitar 2 of the other. A legato approach to playing is suggested for this invention. It is a movement that features figuration and an exploration of shapes rather than ornamentation. The two voices are frequently moving in contrary motion. This invention sounds so easy on the ear but it is a challenging to read because of the accidentals. The realisation plays back at 25 dotted quarter note or dotted crotchet beats to the minute. The repeats whilst indicated in the sheet music score are not played in the mp3 realisation or the accompaniments The reading of the notes and accidentals requires attention especially in the second section and note values need to played accurately. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Two Part Inventions and 15 Three part Sinfonias and many of them provide excellent opportunities for duo and trio playing. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. Close

Two Part Invention No.13 | electric guitar & bass guitar

J.S.Bach’s Invention 13 in the key of A minor is a movement with some quite delightful shapes to play particularly chord shapes including minor, maj Show More...

J.S.Bach’s Invention 13 in the key of A minor is a movement with some quite delightful shapes to play particularly chord shapes including minor, major, dominant 7th & diminished 7th also in their different positions (root, first & second inversion…) This is an excellent ensemble piece encouraging players to listen to each other. Acoustic instruments can be substituted for the electric ones. The electric guitar and bass guitar are both transposing instruments and sound an octave lower than written enabling the space between the contrapuntal lines to be retained. There are some octave transpositions in the bass guitar part to keep to the instrument’s range. Scores are available in both staff notation and TAB. The guitar is an instrument where the same note can be played in different positions and on different strings. The TAB scores are a literal translations of the notated score and guitar players may well wish to review some of the note positions suggested in these scores. Ornaments are not featured in this movement whilst the realisation plays back at 72 quarter note or crotchet beats to the minute. Accompaniments are in place allowing guitar and bass players to participate in ensemble activities as part of their practice routines. The guitar sounds on one side of the stereo channel and the bass on the other. The accompaniment tracks play back at 58, 60, 62, 64, 66, 68, 70 and 72 quarter note (crotchet) beats per minute. This reflects the fact that the invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a two bar count in /click track for each of the accompaniment tracks. As in all the inventions it is a requirement to play accurate note values. Ends of phrases are deserving of particular attention. Legato playing is suggested in the first instance although players can offer their own playing and performance approaches which in many ways is the invitation offered in this and many other Bach music collections. There is no perfectly correct way to play this music and there is the added challenge of being able to re-visit and play the music again. Time spent listening to this work on streaming media will be invaluable to players wishing to understand the different approaches that players have when performing this movement. The principle behind J.S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s Two Part Inventions as in most music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. As concentrated and concise movements the 15 Inventions played in an ensemble context present excellent challenges and there is simply not much other music that can better prepare players for this type of music activity. An invention suited to being played by a wide range of instruments possibly with a combination of instruments belonging to different instrument families – a mix and match approach is invited. The 2023 music score is a revision of the 2013 PlentyMusic score. Close

Two Part Invention No.8 | electric guitar & bass guitar

J.S.Bach’s Invention 8 BWV 779 arranged for electric & bass guitar. One of the most popular of the two part inventions with scale runs and chord sha Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for electric & bass guitar. One of the most popular of the two part inventions with scale runs and chord shapes to master. A sheet music score with both staff notation and TAB is available from the website. Accompaniments are also in place. This is an updated version of an earlier music score. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for guitarists to play to improve technique. There are some octave transpositions in the parts to keep to the range of the instruments. The guitar is an instrument where the same note can be played in different positions on the fretboard and whilst the TAB scores available maybe helpful in locating notes they do not provide the only solution. Acoustic instruments can be substituted for the electric. The realisation plays back at a reasonable 84 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Guitar players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Remember that music cannot be played quickly until it can be played slowly. The electric guitar and bass guitar are both transposing instruments and sound an octave lower than written enabling the space between the contrapuntal lines to be retained. There are some octave transpositions in the parts to keep to each instrument’s range. Scores are available in both staff notation and TAB. The TAB scores are limited in that they are literal translations of the notated score and guitar players may well wish to review some of the note positions suggested in these scores. Ornaments are not generally featured in this movement whilst the realisation plays back at 84 quarter note or crotchet beats to the minute. Accompaniments are in place allowing guitar and bass players to participate in ensemble activities as part of their practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 80, 84, 88, 92, 96, and for the very brave 100 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a two bar count in /click track for each of the accompaniment tracks. Again it is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format. Close

Two Part Invention No.4 | electric guitar & bass guitar

J.S.Bach’s Invention 4 BWV 775 arr. electric guitar & bass guitar Both notated & TAB scores are available. In the key of D minor this is an appeal Show More...

J.S.Bach’s Invention 4 BWV 775 arr. electric guitar & bass guitar Both notated & TAB scores are available. In the key of D minor this is an appealing work featuring an opening motif or melodic shape that combines a scale shape with the interval of a falling diminished seventh. The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written F natural but many alternate a F# with the E. The ornaments can always be omitted particularly in the early stages of learning the movement. If In the video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. As the electric The TAB score Accompaniments are in place allowing electric guitar & bass players to participate in an ensemble activity as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual clarinet parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closley related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique. This is a revision and update of a previous score posted on the website. The music score was revised in 2023. B. Close

Two Part Invention No.4 | classical guitar duo

J.S.Bach’s Invention 4 BWV 775 arr. classical guitar duo with both notated & TAB scores available as pdf downloads from the PlentyMusic website. In Show More...

J.S.Bach’s Invention 4 BWV 775 arr. classical guitar duo with both notated & TAB scores available as pdf downloads from the PlentyMusic website. In the key of D minor this is an appealing work featuring an opening motif or melodic shape that combines a scale shape with the interval of a falling diminished seventh. The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written F natural but many alternate a F# with the E. The ornaments can always be omitted particularly in the early stages of learning the movement. Many guitarists edit the music score in how they play the ornaments finding it difficult to sustain the hammer technique for so long. Find a solution but do ensure that both parts and instruments are imitating each other. The voicing in this arrangement with the guitar 1 sounding an octave lower than written means that the contrapuntal lines are an octave closer together than in the original piano version. In the video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Accompaniments are in place allowing classical guitar duo players to participate in an ensemble activity as part of practice routines. Classical Guitar 1 sounds on one side of the stereo channel and Classical Guitar 2 on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual guitar parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closely related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique. This is a revision and update of a previous score posted on the website. Close

Two Part Invention No.8 | classical guitar duo

J.S.Bach’s Invention 8 BWV 779 arranged for classical guitar duo in the original key of F. One of the most popular of the two part inventions with s Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for classical guitar duo in the original key of F. One of the most popular of the two part inventions with scale runs and chord shapes to master. A sheet music score with both staff notation and TAB is available from the website. Accompaniments are also in place. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for guitarists to play to improve technique. There are some octave transpositions in the parts to keep to the range of the instruments. The guitar is an instrument where the same note can be played in different positions on the fretboard and whilst the TAB scores available maybe helpful in locating notes they do not provide the only option. The realisation plays back at 96 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Guitar players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Remember that music cannot be played quickly until it can be played slowly. The classical guitar is a transposing instrument and sounds an octave lower than written. The contrapuntal lines are an octave closer together than in the piano version. Ornaments are not generally featured in this movement whilst the realisation plays back at 84 quarter note or crotchet beats to the minute. Accompaniments are in place allowing guitar players to participate in ensemble activities as part of their practice routines. Classical Guitar 1 sounds on one side of the stereo channel and Classical Guitar 2 on the other. The accompaniment tracks play back at 76, 80, 84, 88, 92, 96, and for the brave 100 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. Again it is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format. Close

Invention No.14 | electric guitar & bass guitar duo

J.S. Bach’s Invention 14 BWV 785 arranged electric guitar & bass guitar in the key of Bb is a rhythmical work and a movement in which figuration is Show More...

J.S. Bach’s Invention 14 BWV 785 arranged electric guitar & bass guitar in the key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. Remember that the guitar and bass guitar are transposing instruments sounding an octave lower than written. There are some octave transpositions in the bass guitar part to keep to the range of the instrument. Guitarists have the choice of reading a notated or TAB score. TAB scores have a useful function because they locate the position of the notes on the fretboard although the same note can be played on different strings in different positions. The PlentyMusic TAB score is a literal translation of the score and not necessarily the best solution for playing the notes. Ornaments are omitted in this movement but are replaced by challenging and rhythmic figuration. Players need to have a vision and understanding of the phrasing needed before playing this movement. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. The realisation plays back at 56 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. Accompaniments are in place allowing electric guitar and bass guitar players to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 52, 54, 58, 60 and 62 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. Close

Invention No.14 | classical guitar

J.S. Bach’s Invention 14 BWV 785 arranged for classical guitar duo in the original key key of Bb is a rhythmical work and a movement in which figura Show More...

J.S. Bach’s Invention 14 BWV 785 arranged for classical guitar duo in the original key key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. The classical guitar is a transposing instruments sounding an octave lower than written. There are some octave transpositions in the classical guitar 2 part to keep to the range of the instrument. Guitarists have the choice of reading a notated or TAB score. TAB scores have a useful function because they locate the position of the notes on the fretboard although the same note can be played on different strings in different positions. The PlentyMusic TAB score is a literal translation of the score and not necessarily the best solution for playing the notes. Ornaments are omitted in this movement but are replaced by challenging and rhythmic figuration. Players need to have a vision and understanding of the phrasing needed before playing this movement. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 56 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. Accompaniments are in place allowing electric guitar and bass guitar players to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 52, 54, 59, 61 and 63 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. Close

Invention No.11 | electric guitar & bass guitar no ornaments

J .S. Bach’s Invention 11 BWV 782 arranged for electric guitar and bass guitar is a work exploring the minor scale. The chromatic element in the mov Show More...

J .S. Bach’s Invention 11 BWV 782 arranged for electric guitar and bass guitar is a work exploring the minor scale. The chromatic element in the movement is strong and the accidentals make this a challenging score to read and commit to memory. The best preparation for playing this movement is to play the minor scale appropriately transposed in both its forms slowly until the sound of each is familiar. The original keyboard version of the 15 Bach Inventions are in 15 different keys and provide excellent examples to familiarisers players with the key system. Ornaments are not in place in this arrangement. The full music score is presented in staff notation and the attached parts are in staff notation and TAB. The guitar is an instrument where the same note can be played on different strings so players may well wish to review the rather literal translation of the notes to TAB. The playback score in the arrangement for the electric guitar and bass guitar has a tempo of 60 quarter note or crotchet beats to the minute. The suggestion is that the movement can be played both at slower and faster tempo. The inventions are concentrated demanding movements to play in an ensemble context but excellent for encouraging listening skills, good intonation and accurate playing. The movement is probably best learnt without the ornaments in place in the first instance. Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing does need to be avoided. Accompaniments are in place allowing electric guitar and bass guitar players to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel with the bass guitar on the other. The accompaniment tracks play back at 56, 58, 60, 62, 64, 66 and 68 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. Instrumentalists should spend time listening to performances of the work by a range of musical instruments to understanding playing approaches. Players will possibly need to edit their scores with reminders about accidentals within the bar. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Playing levels will perhaps need to be reviewed when different instrument combinations are involved. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. Those learning how to use music notation software and improve their listening skills will find this an excellent study to copy simply because of the many accidentals that require attention from the listening and notation point of view. Accurate notation will suggest an excellent understanding of the staff notation system. Close

Invention No.11 | classical guitar duo no ornaments

Invention No.11 | classical guitar duo no ornaments

Invention No.10 | classical guitar duo no ornaments

J.S.Bach’s Invention 10 BWV 781 in an arrangement for classical guitar duo in the original key of G. This Invention features many musical shapes ba Show More...

J.S.Bach’s Invention 10 BWV 781 in an arrangement for classical guitar duo in the original key of G. This Invention features many musical shapes based on chords and consequently lends itself to chord playing instruments. The realisation plays back at 84 dotted quarter (crotchet) note beats to the minute. Whilst score detail is generally not in place on Bach scores although it is necessary for instrumentalists to have a clear intention of how the music is to be played. Players should listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. Remember also that movements cannot be played quickly until they be played slowly! In the video score, ornaments are indicated by symbols but do not sound in the playback. For instrumentalists wishing to incorporate ornamentation into their performances refer to the piano realisation featured on our YouTube channel which has the ornamentation written out exactly as the music editor suggests they should be played. https://youtu.be/xuQK5i2lf44 Ornamentation is an aspect of performance that invites different and frequently contrasting interpretations. Bach’s music belongs to the baroque era and whilst the composer himself was quite clear about the ornaments he used and how they should be played later editors of his music have often added to original intentions. The inventions are also probably best studied in the first instance without ornaments in place. An additional factor is that the intended instrument on which the inventions were played, the harpsichord, is one that does not feature sustained sounds. Long notes as such require some sort of addition, hence the need for ornamentation. Another view or approach to ornamentation is that apart from adding to the music they should have a sense of being improvised. The music editor has chosen not to double ornaments where they occur in both voices simply because it lessens the contrast in the parts. Accompaniments are in place allowing guitarists to participate in ensemble activities as part of practice routines. Classical guitar 1 sounds on one side of the stereo channel and classical guitar 2 on the other. The accompaniment tracks play back at 72, 76, 80, 84, 88, 92, 96 100 104 and 108 dotted quarter note (crotchet) beats per minute. There is two bar count in /click track at the beginning of the accompaniment tracks. There are three dotted quarter or crotchet beats to the bar indicated by the 9/8 time signature. Contrasting guitar sounds have been used. Should more accompaniments be required at either slower or faster tempi please advise the PlentyMusic office. Whilst the ornaments are indicated in the sheet music score they do not sound in the accompaniment scores. For those intending to play the ornaments refer to the piano sheet music video on our YouTube channel. In this score the ornaments have been written out as they should be played. https://youtu.be/xuQK5i2lf44 The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation and diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure technique. Close

Invention No.10 | mandolin & classical guitar no ornaments

J.S.Bach’s Invention 10 BWV 781 in an arrangement for mandolin & classical guitar in the original key of G. This Invention features many musical sh Show More...

J.S.Bach’s Invention 10 BWV 781 in an arrangement for mandolin & classical guitar in the original key of G. This Invention features many musical shapes based on chords and consequently lends itself to chord playing instruments. The realisation plays back at 84 dotted quarter (crotchet) note beats to the minute. Whilst score detail is generally not in place on Bach scores although it is necessary for instrumentalists to have a clear intention of how the music is to be played. Both the mandolin and classical guitar players have the option from reading a notatated or TAB score. Other guitars can be substituted for the suggested classical guitar Players should listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. Remember also that movements cannot be played quickly until they be played slowly! In the video score, ornaments are indicated by symbols but do not sound in the playback. For instrumentalists wishing to incorporate ornamentation into their performances refer to the piano realisation featured on our YouTube channel which has the ornamentation written out exactly as the music editor suggests they should be played. https://youtu.be/xuQK5i2lf44 Ornamentation is an aspect of performance that invites different and frequently contrasting interpretations. Bach’s music belongs to the baroque era and whilst the composer himself was quite clear about the ornaments he used and how they should be played later editors of his music have often added to original intentions. The inventions are also probably best studied in the first instance without ornaments in place. An additional factor is that the intended instrument on which the inventions were played, the harpsichord, is one that does not feature sustained sounds. Long notes as such require some sort of addition, hence the need for ornamentation. Another view or approach to ornamentation is that apart from adding to the music they should have a sense of being improvised. The music editor has chosen not to double ornaments where they occur in both voices simply because it lessens the contrast in the parts. Accompaniments are in place allowing mandolin & guitar players to participate in ensemble activities as part of practice routines. The mandolin sounds on one side of the stereo channel and the classical guitar on the other. The accompaniment tracks play back at 72, 76, 80, 84, 88, 92, 96 100 104 and 108 dotted quarter note (crotchet) beats per minute. There is two bar count in /click track at the beginning of the accompaniment tracks. There are three dotted quarter or crotchet beats to the bar indicated by the 9/8 time signature. Mandolin music often features tremolo playing and certainly in the long trills there is opportunity to explore this aspect mandolin technique. Should more accompaniments be required at either slower or faster tempi please advise the PlentyMusic office. Whilst the ornaments are indicated in the sheet music score they do not sound in the accompaniment scores. For those intending to play the ornaments refer to the piano sheet music video on our YouTube channel. In this score the ornaments have been written out as they should be played. https://youtu.be/xuQK5i2lf44 The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation and diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure technique. Close

Invention No.10 | electric guitar & bass guitar no ornaments

J.S.Bach’s Invention 10 BWV 781 in an arrangement for electric & bass guitar duo in the original key of G. This Invention features many musical sha Show More...

J.S.Bach’s Invention 10 BWV 781 in an arrangement for electric & bass guitar duo in the original key of G. This Invention features many musical shapes based on chords and consequently lends itself to chord playing instruments. The realisation plays back at 84 dotted quarter (crotchet) note beats to the minute. Whilst score detail is generally not in place on Bach scores although it is necessary for instrumentalists to have a clear intention of how the music is to be played. Guitar players have the option of using either a notated or TAB score. As notes can be played in different positions on the electric and bass guitar fretboards players may well want to review the suggestions given in the PlentyMusic TAB scores. Players should listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. Remember also that movements cannot be played quickly until they be played slowly! In the video score, ornaments are indicated by symbols but do not sound in the playback. For instrumentalists wishing to incorporate ornamentation into their performances refer to the piano realisation featured on our YouTube channel which has the ornamentation written out exactly as the music editor suggests they should be played. https://youtu.be/xuQK5i2lf44 Ornamentation is an aspect of performance that invites different and frequently contrasting interpretations. Bach’s music belongs to the baroque era and whilst the composer himself was quite clear about the ornaments he used and how they should be played later editors of his music have often added to original intentions. The inventions are also probably best studied in the first instance without ornaments in place. An additional factor is that the intended instrument on which the inventions were played, the harpsichord, is one that does not feature sustained sounds. Long notes as such require some sort of addition, hence the need for ornamentation. Another view or approach to ornamentation is that apart from adding to the music they should have a sense of being improvised. The music editor has chosen not to double ornaments where they occur in both voices simply because it lessens the contrast in the parts. Accompaniments are in place allowing guitarists to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and bass guitar on the other. The accompaniment tracks play back at 72, 76, 80, 84, 88, 92, 96 100 104 and 108 dotted quarter note (crotchet) beats per minute. There is two bar count in /click track at the beginning of the accompaniment tracks. There are three dotted quarter or crotchet beats to the bar indicated by the 9/8 time signature. Should more accompaniments be required at either slower or faster tempi please advise the PlentyMusic office. Whilst the ornaments are indicated in the sheet music score they do not sound in the accompaniment scores. For those intending to play the ornaments refer to the piano sheet music video on our YouTube channel. In this score the ornaments have been written out as they should be played. https://youtu.be/xuQK5i2lf44 The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation and diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure technique. Close

Invention No.9 | electric & bass guitar no ornaments

J.S. Bach’s Invention 9 BWV 780 arranged electric guitar & bass guitar duo in its original key of F minor. A challenging invention to play particula Show More...

J.S. Bach’s Invention 9 BWV 780 arranged electric guitar & bass guitar duo in its original key of F minor. A challenging invention to play particularly from the note reading point of view. The #sheetmusic video plays back at 58 bpm and the music is presented in both staff notation & TAB. The arrangement is based on the original piano score. There are many accidentals to read and it is easy to make music reading errors. A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. In the sheet music score the ornaments are indicated but do not sound. The ornamentation in place is placed at the important cadence points in the movement. In the keyboard video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. The full score is presented in staff notation and the parts with the option of staff notation and TAB. Bass guitar players may well want to experiment with the octave choices in the higher sounding sections bars 5-7 and elsewhere in the movement. Accompaniments are in place allowing guitarists to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 52, 54, 56, 58, 60, 62 & 64 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. Playing the music of Bach is challenging and his style is demanding and uncompromising in the consistency required to perform it accurately. As a composer Bach is not so much an innovator but one of those who brings all the musical elements of his time together and takes them to an altogether much higher artistic and technical level. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent ensemble movements. Close

Invention No.9 | electric & bass guitar no ornaments

J.S. Bach’s Invention 9 BWV 780 arranged electric guitar & bass guitar duo in its original key of F minor. A challenging invention to play particula Show More...

J.S. Bach’s Invention 9 BWV 780 arranged electric guitar & bass guitar duo in its original key of F minor. A challenging invention to play particularly from the note reading point of view. The #sheetmusic video plays back at 58 bpm and the music is presented in both staff notation & TAB. The arrangement is based on the original piano score. There are many accidentals to read and it is easy to make music reading errors. A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. In the sheet music score the ornaments are indicated but do not sound. The ornamentation in place is placed at the important cadence points in the movement. In the keyboard video score, which guitar players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. The full score is presented in staff notation and the parts with the option of staff notation and TAB. Bass guitar players may well want to experiment with the octave choices in the higher sounding sections bars 5-7 and elsewhere in the movement. Accompaniments are in place allowing guitarists to participate in ensemble activities as part of practice routines. The electric guitar sounds on one side of the stereo channel and the bass guitar on the other. The accompaniment tracks play back at 52, 54, 56, 58, 60, 62 & 64 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. Playing the music of Bach is challenging and his style is demanding and uncompromising in the consistency required to perform it accurately. As a composer Bach is not so much an innovator but one of those who brings all the musical elements of his time together and takes them to an altogether much higher artistic and technical level. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent ensemble movements. Close

Invention No.9 | classical guitar duo no ornaments

Invention 9 BWV 780 arranged for classical guitar duo in the key of F minor is a challenging invention to play particularly from the note reading and Show More...

Invention 9 BWV 780 arranged for classical guitar duo in the key of F minor is a challenging invention to play particularly from the note reading and voice leading point of view. There are many accidentals to read and it is easy to make music reading errors. The arrangement is based on the original piano score with some necessary octave transpositions in place in the guitar 2 part. Guitarists have the option of reading either from a staff notation or TAB score attached to the full score A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. In the sheet music score the ornaments are indicated but do not sound. The ornamentation in place is placed at the important cadence points in the movement. In the keyboard video score, which guitarists may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. The realisation plays back at 58 quarter note or crotchet beats per minute. Accompaniments are in place allowing classical guitar players to participate in ensemble activities as part of practice routines. Classical guitar 1 sounds on one side of the stereo channel and the classical guitar 2 on the other. The accompaniment tracks play back at 52, 54, 56, 58, 60, 62 & 64 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. Playing the music of Bach is challenging and his style is demanding and uncompromising in the consistency required to perform it accurately. As a composer Bach is not so much an innovator but one of those who brings all the musical elements of his time together and takes them to an altogether much higher artistic and technical level. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent ensemble movements. Close

Invention No.9 | classical guitar duo no ornaments

Invention 9 BWV 780 arranged for classical guitar duo in the key of F minor is a challenging invention to play particularly from the note reading and Show More...

Invention 9 BWV 780 arranged for classical guitar duo in the key of F minor is a challenging invention to play particularly from the note reading and voice leading point of view. There are many accidentals to read and it is easy to make music reading errors. The arrangement is based on the original piano score with some necessary octave transpositions in place in the guitar 2 part. Guitarists have the option of reading either from a staff notation or TAB score attached to the full score A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. In the sheet music score the ornaments are indicated but do not sound. The ornamentation in place is placed at the important cadence points in the movement. In the keyboard video score, which guitarists may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. The realisation plays back at 58 quarter note or crotchet beats per minute. Accompaniments are in place allowing classical guitar players to participate in ensemble activities as part of practice routines. Classical guitar 1 sounds on one side of the stereo channel and the classical guitar 2 on the other. The accompaniment tracks play back at 52, 54, 56, 58, 60, 62 & 64 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. Playing the music of Bach is challenging and his style is demanding and uncompromising in the consistency required to perform it accurately. As a composer Bach is not so much an innovator but one of those who brings all the musical elements of his time together and takes them to an altogether much higher artistic and technical level. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent ensemble movements. Close

Nola | guitar accompaniment D

Nola by Felix Arndt arr. flute & guitar. The composition dates from 1915. It is frequently referred to as the first piece of novelty music an idiom th Show More...

Nola by Felix Arndt arr. flute & guitar. The composition dates from 1915. It is frequently referred to as the first piece of novelty music an idiom that emerged during the ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit. This is the perfect “party piece.” Arndt was a New York based composer and pianist who died during the Spanish Flu epidemic of 1919. Flute & guitar parts are appended to the full score in the pdf sheet music download. Guitar accompaniments are in place allowing flautists to participate in play-a-long ensemble activities as part of music practice routines. The accompaniment tracks play back at 58, 60, 62, 64 & 66 & 68 half note (minim) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. The guitar accompaniment is quite playable and not nearly as difficult as the flute solo. Classical, steel and electric guitar are all appropriate although an acoustic sound has been used in the accompaniments. A TAB score is available on the guitar duo version. Appreciate that there are some octave transpositions in the flute part simply to keep within the instrument’s range. Sections need to be played at the same tempo and there is little opportunity for slowing down at the end of phrases and sections. This is music that moves along quickly but also needs to played in a completely relaxed manner. Nola is brimming with musical ideas and inventiveness and is a very “modern” sounding work for 1915. As a musical snapshot of its time it references both the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms. Swing playing identifies more with the 1920’s so this is definitely music ahead of its time. The playing style of the bass and chords is derived from ragtime. Contrasting and repeating sections are in evidence whilst the formal pattern of the music is A B A C D C A with an 8 bar coda at the end. The key plan can be summarised as I – i – I – IV - I The novelty era has a strong connection with ragtime particularly in its formal patterns and musical shapes. Whilst the repetitive element is strong the composer does not make use of repeat signs. The music editor’s observation is that Felix Arndt was a hugely talented, imaginative and inventive composer and it is a tragedy that he did not live longer to compose music that similarly anticipated future trends. He left the music world with the potential to achieve so much. Born in 1889 if he had lived his entitled three year scores and ten he could have lived until 1959 and would have been a contemporary with so many other greats. It is also ironic because1959 is the year that a version of Nola achieved success in the pop charts. What is so evident is that he had a wonderful understanding of harmonic colour and the relevance of chords in the popular music idiom. He can be truly described as a musical forerunner. Apart from the abundance of musical ideas it is understanding of the harmonic framework which makes his music so appealing. There are several dance move references in the music The triplet swing pattern imbues this music. PlentyMusic pdf sheet music scores and mp3 accompaniments can be downloaded from the PlentyMusic website. Improve music practice routines with PlentyMusic accompaniments and technical drills. Beginner, improver, intermediate and advanced level sheet music scores are available for many different musical instrument combinations. Music scores are written and presented in staff notation. Free scores are also available as pdf sheet music downloads. A wide range of different musical performing styles are represented on the PlentyMusic website from early times through to classical and popular. Explore PlentyMusic a new and innovative sheet music publisher. #Nola by Felix #Arndt arr. flute & guitar by Stephen Royle The composition dates from 1915. It is frequently referred to as the first piece of novelty music an idiom that emerged during the ragtime era. Light and breezy in character this is a style of music very much intended to lift the mood and spirit. This is the perfect “party piece.” #sheetmusic & accompaniments link: coming soon Arndt was a New York based composer and pianist who died during the Spanish Flu epidemic of 1919. Flute & guitar parts are appended to the full score in the pdf sheet music download. Guitar accompaniments are in place allowing flautists to participate in play-a-long ensemble activities as part of music practice routines. The accompaniment tracks play back at 58, 60, 62, 64 & 66 & 68 half note (minim) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. The guitar accompaniment is quite playable and not nearly as difficult as the flute solo. Classical, steel and electric guitar are all appropriate although an acoustic sound has been used in the accompaniments. A TAB score is available on the guitar duo version. Appreciate that there are some octave transpositions in the flute part simply to keep within the instrument’s range. Sections need to be played at the same tempo and there is little opportunity for slowing down at the end of phrases and sections. This is music that moves along quickly but also needs to played in a completely relaxed manner. Nola is brimming with musical ideas and inventiveness and is a very “modern” sounding work for 1915. As a musical snapshot of its time it references both the ragtime era of its near past and points to the future in its swing jazz style triplet rhythms. Swing playing identifies more with the 1920’s so this is definitely music ahead of its time. The playing style of the bass and chords is derived from ragtime. Contrasting and repeating sections are in evidence whilst the formal pattern of the music is A B A C D C A with an 8 bar coda at the end. The key plan can be summarised as I – i – I – IV - I The novelty era has a strong connection with ragtime particularly in its formal patterns and musical shapes. Whilst the repetitive element is strong the composer does not make use of repeat signs. The music editor’s observation is that Felix Arndt was a hugely talented, imaginative and inventive composer and it is a tragedy that he did not live longer to compose music that similarly anticipated future trends. He left the music world with the potential to achieve so much. Born in 1889 if he had lived his entitled three year scores and ten he could have lived until 1959 and would have been a contemporary with so many other greats. It is also ironic because1959 is the year that a version of Nola achieved success in the pop charts. What is so evident is that he had a wonderful understanding of harmonic colour and the relevance of chords in the popular music idiom. He can be truly described as a musical forerunner. Apart from the abundance of musical ideas it is understanding of the harmonic framework which makes his music so appealing. There are several dance move references in the music The triplet swing pattern imbues this music. Close

Serenata Española | 2 guitars + pizz cello + upright bass

Joaquin Malats Serenata Española from his Impressions of Spain arr. mandolin, 2 classical guitars, cello playing pizzicato & upright bass. Individual Show More...

Joaquin Malats Serenata Española from his Impressions of Spain arr. mandolin, 2 classical guitars, cello playing pizzicato & upright bass. Individual instrument parts are appended to the full sheet music score in the pdf download. Use the signing up free credit facility to download the score and parts. A sunny piece that features many characteristics typical of Spanish music. There is no reason why the parts cannot be doubled to make this an exciting ensemble piece. All instruments playing in this arrangement create the sound by the plucking the strings. In this arrangement mandolin players are required to tremolo rather than trill on the long notes. Remember that the classical guitar and double bass are transposing instruments sounding an octave lower than written in the music score. The workability of this arrangement does need to be evaluated and PlentyMusic would value feedback from musicians trying out this arrangement. It is possible that there are better octave options in the parts that could be explored. Where there are challenges with stretches in the guitar & cello parts with more than one note being played the instrumentalist needs to chose or be advised one the most appropriate option. animando used in the score implies an increase in tempo and has been placed above the stave as a score marking The music in this arrangement has been transposed from the key of G minor to A minor. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music of Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key of A in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests many images of the country. There is also much figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing most errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement and instrument ranges are often challenged. Close

Serenata Española | guitars 2,3,4 + bass guitar

Joaquin Malats Serenata Española from his Impressions of Spain arr. 4 acoustic guitars & bass guitar Individual instrument parts are appended to the Show More...

Joaquin Malats Serenata Española from his Impressions of Spain arr. 4 acoustic guitars & bass guitar Individual instrument parts are appended to the full sheet music score in the pdf download. #sheetmusic & accompaniments download link: coming soon Use the signing up free credit facility to download the score and parts & possibly an accompaniment. A sunny piece that features many characteristics typical of Spanish music. There is no reason why the parts cannot be doubled to make this an exciting ensemble piece. There are many times of guitar that can be incorporated into a playing group making this a great learning piece for so many guitarists. Whatever guitar types are available can be used & there is no reason why a mix of guitars cannot be used with classical, folk, steel, and electric guitars being substituted. As a concert piece classical guitars supported by either an acoustic or electric bass instrument would be ideal. Scores can be printed out with 2 pages per sheet offering an opportunity to save on page turning. Accompaniments are in place enabling the guitar 1 part to practice and play as part of an ensemble. They play at 104, 108,112,116 & 120 bpm. There is a 4 bar click track to prepare players for this ensemble experience. All instruments playing in this arrangement create the sound by plucking the strings. In this arrangement the long trill in the guitar 1 has been omitted simply because a long trill is hard to sustain on an acoustic instrument. Remember that the classical guitar and bass guitar are transposing instruments sounding an octave lower than written in the music score. The workability of this arrangement does need to be evaluated and PlentyMusic would value feedback from musicians trying out this arrangement. It is possible that there are better octave options in the parts that could be explored particularly the guitar 2 & 3 parts. Where there are challenges with stretches in the guitar parts with more than one note being played the instrumentalist needs to chose or be advised on the most appropriate option. animando used in the score implies an increase in tempo and has been placed above the stave as a score marking The music in this arrangement has been transposed from the key of G minor to A minor. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music of Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key of A in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests many images of the country. There is also much figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing most errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. Close

Chanson Triste | acoustic guitar & upright bass

Tchaikovsky’s Chanson Triste arranged for flute, acoustic guitar & bass. Accompaniments featuring the acoustic guitar & bass are available playing a Show More...

Tchaikovsky’s Chanson Triste arranged for flute, acoustic guitar & bass. Accompaniments featuring the acoustic guitar & bass are available playing at 94, 96, 98, 100, 102 & 104 quarter note (crotchet ) beats per minute giving the flautist opportunity to practice in an ensemble context as part of practice routines Individual instrument parts are appended to the full score. The music editor envisages a crossover approach when playing this arrangement possibly combining electric and acoustic instruments. Tchaikovsky composed many beautiful melodies and was a master of harmony often presenting music melancholy in mood. The arrangement can also be played in a swing style. Listen to this option on the website. The realisation plays back at 100 quarter note (crotchet) beats to the minute. In a playing context a slower tempo can be considered. In the arrangement there are a number of octave transpositions in the bass part. In the guitar part 4 notes generally sound in the realisation although the chord symbols in place may indicate/suggest more than 4 notes to be played. The chords suggested are generally in first position and there is some flexibility as to the number of notes that can be sounded. Chords are described referencing the bass note that is played although it may not be a note actually being played by the guitarist. TAB scores are also in place. In the middle section the guitarist is required musical lines and so the chord notation has been omitted. One of Tchaikovsky’s most popular pieces composed in 1878 for piano this arrangement for flute, guitar & bass is in the key of A minor. It is a ternary form ABA movement in a reflective melancholy mood. It has a regular phrase structure and the melodic line needs to be played with a singing legato. When performing the music be aware that tempo changes particularly at the end of phrases are appropriate. The music needs to be delivered with expression and a broad range of dynamics. Playing the A minor scale in both the harmonic and melodic forms would be excellent preparation for playing this intermediate level work. Close

Chanson Triste | acoustic guitar & upright bass swing style

guitar & bass. If guitar and bass players require a TAB score please download the other version of this score. Download the sheetmusic and an accompa Show More...

guitar & bass. If guitar and bass players require a TAB score please download the other version of this score. Download the sheetmusic and an accompaniment or two by using the free credit given when signing up to PlentyMusic. Swing style accompaniments featuring the acoustic guitar & bass are available playing at 94, 96, 98, 100, 102 & 104 quarter note (crotchet ) beats per minute giving the flautist opportunity to practice in an ensemble context as part of practice routines Music leaders and music students should become familiar with the PlentyMusic integrated instrumental music teaching programme whereby a large number of instruments can share repertoire and practice strategies. Individual instrument parts are appended to the full score. The music editor envisages a crossover approach when playing this arrangement possibly combining electric and acoustic instruments. Tchaikovsky composed many beautiful melodies and was a master of harmony often presenting music melancholy in mood. PlentyMusic uses music software to produce pdf and mp3 resources that improve music practice routines. The PlentyMusic integrated instrument teaching programme provides a management structure and pathways to music performance. The PlentyMusic classical sheet music realisation and sheet music video plays back at 100 quarter note (crotchet) beats to the minute. In a playing context a slower tempo can be considered. In the arrangement there are a number of octave transpositions in the bass part. In the guitar part 4 notes for each chord generally sound in the realisation although the chord symbols in place may indicate/suggest more than 4 notes to be played. The chords suggested are generally in first position and there is some flexibility as to the number of notes that can be sounded. Chords are described referencing the bass note that is played although it may not be a note actually being played by the guitarist. For the guitarist and bass guitarist TAB scores are also in place. In the middle section the guitarist is required musical lines and so the chord notation has been omitted. One of Tchaikovsky’s most popular pieces composed in 1878 for piano this arrangement for flute, guitar & bass is in the key of A minor. It is a ternary form ABA movement in a reflective melancholy mood. It has a regular phrase structure and the melodic line needs to be played with a singing legato. When performing the music be aware that tempo changes particularly at the end of phrases are appropriate. The music needs to be delivered with expression and a broad range of dynamics. Playing the A minor scale in both the harmonic and melodic forms in a swing style would be excellent preparation for playing this intermediate level work. Close

España Cañi | Spanish Gypsy Dance | classical/acoustic guitar + upright bass

España Cañi | Spanish Gypsy Dance | classical/acoustic guitar + upright bass

España Cañi | Spanish Gypsy Dance | electric guitar + bass guitar

Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for soprano saxophone, electric guitar & bass guitar. One of the most Show More...

Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for soprano saxophone, electric guitar & bass guitar. One of the most familiar pieces of the Spanish repertoire this arrangement from PlentyMusic is now available to download. The plentymusic sheet music video and realisation plays back at a tempo of 112 quarter note beats per minute. The tempo in the arrangement is constant. Accompaniments are in place featuring the acoustic guitar & upright bass. They play back at 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute. There are many arrangements of this music available from the PlentyMusic sheet music library combining many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using these professionally prepared resources. The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. There are a number of octave transpositions in the soprano part to avoid notes outside the instrument’s range. In this trio version the introduction has been shortened and the chords played on the electric guitar have been voiced appropriate for the guitarist to be playing in essentially first position. As there are no percussion instruments in the scoring the arranger has omitted the tremolos from bars 65-71 doubling the flute melody with bass line. Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the elements of the Spanish idiom and style. The second section has an appealing syncopated melody with some lightening of the musical texture. The solo line played needs to be played with confidence and accuracy. It is also an excellent test as an ensemble piece requiring good communication between the soloist & accompanying guitar and bass. The solo part is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach. The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Martellato means strongly accented. Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound. This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed! A great movement for both the player and the listener for its dramatic and musical qualities. The composition dates from 1923 and was recorded as early as 1926. Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone). The cadences in Spanish music have a characteristic sound The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism. The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. The conception of the dance is a re-imagining of the movements of the Spanish matador in the bull ring. Close

España Cañi | Spanish Gypsy Dance | 2 acoustic guitars

Galop | Can-Can | guitar

This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable m Show More...

This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable melody. This is a genuine performance piece to be enjoyed by both instrumentalists and audiences alike. It is very evident that Jacques Offenbach had a real gift and sense of melody and fun in making music. Not necessarily favoured by the music critics of the time, nevertheless much of his music has remained in the repertoire. Nietzsche & Zola also commented on his operettas for those who want to discover more about the ambivalence of his status. Flautists will need to pay attention to the range of articulations and dynamics needed in a performance. Repeat signs are in place in the score and guitarists will note that their part is played in first position. The guitar can either be any acoustic model possibly classical with nylon strings or a more folk style steel strung instrument. The guitar part is notated in staff notation with chord charts in place where appropriate. The realisation plays back at 120 quarter note (crotchet) beats in the introductory first section and 132 quarter (crotchet) note beats in the second. Guitar accompaniments are also in place enabling flautists to enjoy an ensemble experience as part of practice routines. Repeats are in place and should be played to maintain the symmetry and shape of the piece. As unmistakenly music intended for dancing there is a regular phrase structure in the second section and repetition is a strong feature of the composing process. There is an opening 23 bar section marked Allegro succeeded by a faster section which has an A B C A A + Coda structure with a 2 bar link between sections B & C. “Le Galop” is often referred to as the “Can-Can” and was first performed in 1858 causing a bit of a stir because of its risqué nature though more in the visual rather than musical sense. Le Galop is from Act 2 of Offenbach’s operetta “Orpheus in the Underworld.” The can-can dance become associated with the Parisian cabarets of the Moulin Rouge and Folies Bergère. The easily remembered tune became associated with the high kicking female can-can dancers of the day. Jacques Offenbach (1819 – 1880) whilst German born is considered to be a French composer known for the lighter side of opera referred to as operetta. Many of his works are still staged and he was an important influence on later composers of the genre. In his early days he earned his living as a cellist & conductor before producing his first full length operetta “Orpheus in the Underworld” in 1858. His final work “The Tales of Hoffmann’ was incomplete at the time of his death. Close

Sinfonia 2 | electric guitar 2 & 4-string bass

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for 2 electric guitars & 4-string bass guitar. In the pdf download the attached parts have both notat Show More...

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for 2 electric guitars & 4-string bass guitar. In the pdf download the attached parts have both notated & TAB scores for guitar players. In the arrangement the music has been transposed to the key of E minor with the full range of the instruments explored. The TAB scores attached are a fairly literal interpretation of the note positions and guitarists well may feel that the suggestions can be improved. For those who can provide a better option please send an updated TAB chart to PlentyMusic and we will upload it with an acknowledgement. The realisation playback at 60 dotted quarter note or crotchet beats to the minute. Remember that good music performances come from good preparation. In this version ornaments have been omitted. Playing the E minor scale in all its forms natural, harmonic and melodic would be excellent preparation for playing this sinfonia. Find scales in the free scores drop down menu on the website home page. The voice leading in this sinfonia is not altogether straightforward and players will need to pay attention to the accidentals in the score possibly adding reminders if required. Conflicting accidentals often appear in different voices in the same bar. A sinfonia that features arpeggios and scale runs with the rhythmic shapes in the lines having a strong repetitive element. The note values given in Bach’s Sinfonias often give an indication of intended articulations that are intended. Players should be aiming for a singing legato in their playing. The movement needs to be played, in the first instance, with an awareness of the patterns of 3 in the 12/8 time signature (4x3 to the bar). Accompaniments are in place playing at 56, 58, 60, 62 & 64 dotted quarter note (crotchet) beats per minute (bpm). They feature the sound of the electric guitar 2 & 4-string bass enabling the electric guitar 1 player to enjoy ensemble music as part of routine practice. There is a one bar click track sounding on the woodblock as an intro on the mp3 tracks. It is important to keep to the written note durations. There are also some ambiguities in the voicing in the score that reference that the sinfonias were composed for an instrument with more than one keyboard – the harpsichord. Rests have been indicated in the voices as they are in the keyboard version of the works Some of the rhythmic notation particularly with regards to the use of rests is ambiguous. Logic and rules do not universally apply. What tends to be in place is what is good for the eye. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills and good intonation in an ensemble playing context. The Sinfonias are works conceived for three voices and feature compositional processes very much associated with Bach’s contrapuntal writing namely: repetition, inversion, imitation, augmentation, diminution. In these works the closely related keys of the dominant, sub- dominant, relative minor are explored The movement should not be played too quickly. The music editor’s advice is that players need to be clear in their intention as far as the articulation of the lines and the dynamics. Whilst a movement that needs to be played with control there also needs to be a lightness of intention in the playing approach. PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close

Sinfonia 2 | piano voices 1 + 3

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for clarinet in Bb & piano. The clarinettist plays the middle voice in the arrangement whilst the acc Show More...

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for clarinet in Bb & piano. The clarinettist plays the middle voice in the arrangement whilst the accompanying piano part sounds voices 1 & 3. The realisation playback at 60 dotted quarter note or crotchet beats to the minute. In this version ornaments have been omitted. Playing the relevant minor scale in all its forms natural, harmonic and melodic would be excellent preparation for playing this sinfonia. Find scales in the free scores drop down menu on the website home page. The voice leading in this sinfonia is not altogether straightforward and players will need to pay attention to the accidentals in the score possibly adding reminders if required. Conflicting accidentals often appear in different voices in the same bar. A sinfonia that features arpeggios and scale runs with the rhythmic shapes in the lines having a strong repetitive element. The note values given in Bach’s Sinfonias often give an indication of intended articulations that are intended. Players should be aiming for a singing legato in their playing. The movement needs to be played, in the first instance, with an awareness of the patterns of 3 in the 12/8 time signature (4x3 to the bar). Accompaniments are in place playing at 56, 58, 60, 62 & 64 dotted quarter note (crotchet) beats per minute (bpm). They feature the piano sounding voices 1 & 3 of the arrangementenabling the electric guitar 1 player to enjoy ensemble music as part of routine practice. There is a one bar click track sounding on the woodblock as an intro on the mp3 tracks. It is important to keep to the written note durations. There are also some ambiguities in the voicing in the score that reference that the sinfonias were composed for an instrument with more than one keyboard – the harpsichord. Rests have been indicated in the voices as they are in the keyboard version of the works Some of the rhythmic notation particularly with regards to the use of rests is ambiguous. Logic and rules do not universally apply. What tends to be in place is what is good for the eye. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills and good intonation in an ensemble playing context. The Sinfonias are works conceived for three voices and feature compositional processes very much associated with Bach’s contrapuntal writing namely: repetition, inversion, imitation, augmentation, diminution. In these works the closely related keys of the dominant, sub- dominant, relative minor are explored The movement should not be played too quickly. The music editor’s advice is that players need to be clear in their intention as far as the articulation of the lines and the dynamics. Whilst a movement that needs to be played with control there also needs to be a lightness of intention in the playing approach. PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close

Sinfonia 2 | classical guitars voices 2 & 3

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for classical guitar trio guitar. In the pdf download the attached parts have both notated & TAB scor Show More...

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for classical guitar trio guitar. In the pdf download the attached parts have both notated & TAB scores for guitar players. In the arrangement the music has been transposed to the key of E minor with the full range of the instruments explored. The TAB scores attached are a literal interpretation of the note positions and guitarists well may feel that the suggestions can be improved. For those who can provide a better option please send an updated TAB chart to PlentyMusic and we will upload it with an acknowledgement. The realisation playback at 60 dotted quarter note or crotchet beats to the minute. Remember that good music performances come from good preparation. In this version ornaments have been omitted. Playing the E minor scale in all its forms natural, harmonic and melodic would be excellent preparation for playing this sinfonia. The voice leading in this sinfonia is not altogether straightforward and players will need to pay attention to the accidentals in the score possibly adding reminders if required. Conflicting accidentals often appear in different voices in the same bar. A sinfonia that features arpeggios and scale runs with the rhythmic shapes in the lines having a strong repetitive element. The note values given in Bach’s Sinfonias often give an indication of intended articulations that are intended. Players should be aiming for a singing legato in their playing. The movement needs to be played, in the first instance, with an awareness of the patterns of 3 in the 12/8 time signature (4x3 to the bar). Accompaniments are in place playing at 56, 58, 60, 62 & 64 dotted quarter note (crotchet) beats per minute (bpm). They feature the sound of classical guitar 2 and 3 enabling the classical guitar 1 player to enjoy ensemble music as part of routine practice. There is a one bar click track sounding on the woodblock as an intro on the mp3 tracks. It is important to keep to the written note durations. There are also some ambiguities in the voicing in the score that reference that the sinfonias were composed for an instrument with more than one keyboard – the harpsichord. Rests have been indicated in the voices as they are in the keyboard version of the works Some of the rhythmic notation particularly with regards to the use of rests is ambiguous. Logic and rules do not universally apply. What tends to be in place is what is good for the eye. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills and good intonation in an ensemble playing context. The Sinfonias are works conceived for three voices and feature compositional processes very much associated with Bach’s contrapuntal writing namely: repetition, inversion, imitation, augmentation, diminution. In these works the closely related keys of the dominant, sub- dominant, relative minor are explored The movement should not be played too quickly. The music editor’s advice is that players need to be clear in their intention as far as the articulation of the lines and the dynamics. Baroque scores generally have minimal score detail in place. The movement end with a major chord in what is referred to as a Picardy third. PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close

Giga | classical guitar 2

An uplifting trio arrangement for classical guitar duo of the Giga from Corelli’s Opus 5 Violin Sonata No.9. In 12/8 time the piece does need to be Show More...

An uplifting trio arrangement for classical guitar duo of the Giga from Corelli’s Opus 5 Violin Sonata No.9. In 12/8 time the piece does need to be played with energy and a suggested tempo of 104 dotted quarter notes (crotchet) beats to the minute is suggested and has been used in the realisation. Repeats are indicated in the score but have not been used in the realisation. Score detail has been omitted in the sheet music score although this is a usual feature of baroque music scores. Playing the A major scale and arpeggios would be good preparation for playing this work. The baroque purists might object but there is great potential in performing this music in contemporary contexts. The arrangement very much keeps to the composer’s intention in terms of the melodic and bass writing. There are some beautiful shapes to play and there is a considerable amount of sequential writing. Ornaments have been written out in the melody line simply to add clarity to the score. The guitar accompaniment features largely 4 note chords in first position. The chord The fact that the fifth is omitted in some chords suggests that textural considerations were always considered in the composing process. The chords generally change every beat of the bar - this describes what is referred to as the harmonic rhythm and is a fairly consistent feature in the movement. Composers in Corelli's time provided a melody and bass line with what was termed a figured bass notated below the bass clef. The figured bass was a series of small numbers and accidendal signs which indicated to the keyboard player usually a harpsichordist in sonata da camera (chamber sonata) the chords that were needed to accompany the written out melody and bass. This part was referred to as the continuo. What the music editor particularly likes about this movement is its contemporary appeal and its suitability to be played by many different combinations of instruments. As a performance piece it has clear intention, communication and direction Corelli 1653 – 1713 was a Rome based composer and violinist identified with the middle baroque period in music history. Corelli did not publish a great amount of music but he was meticulous in his compositional approach. The twelve violin sonatas in the Opus 5 collection were published in 1700. Close

When the saints go marching in acoutic guitar + upright bass

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

When The Saints Go Marching In arranged for flute, acoustic guitar and string bass 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 flute has the option of playing the repeat at the octave as indicated in the score. Chords have also been indicated in the guitar score and there is a TAB score for the bass guitarist. Individual parts are also appended to the full score. There are accompaniment mp3 in place to encourage ensemble playing. Close

Dedicatoria D guitar

A short but quite charming piece from the composer's Opus 1 collection.The tempo of the realisation is 62 quarter note (crotchet) beats to the minute Show More...

A short but quite charming piece from the composer's Opus 1 collection.The tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up. As the piece is quite short only the full score copy is available as a download. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period or nationalist period in music history. Guitar accompaniments are in place for what could be described as a musical jewel. Close

Sicilenne classical guitar 2 Am

The intention of the arrangement was to provide a guitar accompaniment to the melody of Faure’s Sicilienne Opus 78. Consequently in this arrangement Show More...

The intention of the arrangement was to provide a guitar accompaniment to the melody of Faure’s Sicilienne Opus 78. Consequently in this arrangement for two classical guitars the Guitar 1 part is much easier to play than the Guitar 2 part. The Guitar 2 part is challenging and some of the voicing may need to be edited – bars 27 & 29 and later repeated at bars 63 & 69 possibly being an example. This guitar duo arrangement has been made from an orchestral score so understandably something does have to be missed out. The TAB score is a simple conversion from the notation score to TAB. Quite clearly there are options as to where the notes are to be played so be prepared to edit this score. Fauré’s early years were spent in Pamiers (which, is in the Ariège, a department in the rural south western part of France) singing in his local church which no doubt meant that his ear became familiar with the old church modes. In his composing career the modal element became a very characteristic aspect of his compositional style especially evident in the Sicilienne. Composing while referencing the modes requires complete clarity in the musical texture and the musical lines in that texture. Modal music however often lends itself to contemporary contexts and arrangements. 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 with several different instrument combinations. 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 2 part. The realisation plays at a tempo of 48 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 playable in A minor. The realization features a two different sounding guitars. Accompaniments are in place enabling the Guitar 1 part to practice in as part of a duo. These accompaniments play at 46, 48, 50 and 52 dotted quarter note (crotchet) beats to the minute and feature a 4 bar count in sounding on the wood blocks. Close

March in D bass guitar

An arrangement for electric guitar and bass guitar of this characterful and lively march written in cut time. A tempo of 84 half note or minim beats i Show More...

An arrangement for electric guitar and bass guitar of this characterful and lively march written in cut time. A tempo of 84 half note or minim beats is used in the realisation and accompaniments are in place enabling both the electric guitarist and bassist to enjoy duet playing as part of practice routines. Ornaments are probably best omitted when learning the piece. Repeats are not in place in the accompaniments but if they are required please advise the PlentyMusic office. Both notated and TAB scores are in place. Close

March in D electric guitar

An arrangement for electric guitar and bass guitar of this characterful and lively march written in cut time. A tempo of 84 half note or minim beats i Show More...

An arrangement for electric guitar and bass guitar of this characterful and lively march written in cut time. A tempo of 84 half note or minim beats is used in the realisation and accompaniments are in place enabling both the electric guitarist and bassist to enjoy duet playing as part of practice routines. Ornaments are probably best omitted when learning the piece. Repeats are not in place in the accompaniments but if they are required please advise the PlentyMusic office. Both notated and TAB scores are in place. Close

March clarinet in Bb

An arrangement for clarinet in Bb and bass clarinet of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats Show More...

An arrangement for clarinet in Bb and bass clarinet of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the realisation and accompaniments are in place enabling both clarinet in Bb and bass clarinet players to enjoy duo playing as part of practice routines. Accompaniment tempos are 72, 76, 80 and 84 half note or minim beats to the minute and there is a 4 bar count in sounded on the wood block. Close

Polonaise acoustic guitar 2 Gm

An arrangement for two acoustic guitars with both notated and TAB scores of this characterful and rhythmic piece in binary (AB) form in the key of G m Show More...

An arrangement for two acoustic guitars with both notated and TAB scores of this characterful and rhythmic piece in binary (AB) form in the key of G minor. An arrangement for two acoustic guitars with both notated and TAB scores of this characterful and rhythmic piece in binary (AB) form in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. There are no ornaments in place in this arrangement. The composer of this movement has not been identified in a music score which is found in the music collection Notebook for Anna Magdalena Bach. Close

Polonaise acoustic guitar 1 Gm

An arrangement for two acoustic guitars with both notated and TAB scores of this characterful and rhythmic piece in binary (AB) form in the key of G m Show More...

An arrangement for two acoustic guitars with both notated and TAB scores of this characterful and rhythmic piece in binary (AB) form in the key of G minor. An arrangement for two acoustic guitars with both notated and TAB scores of this characterful and rhythmic piece in binary (AB) form in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. There are no ornaments in place in this arrangement. The composer of this movement has not been identified in a music score which is found in the music collection Notebook for Anna Magdalena Bach. Close

Minuet in D minor acoustic guitar 2

An arrangement of the Minuet in D minor BWV App. 132 for guitar duet from the Anna Magdalena Notebook. The playback tempo of the realisation is 104 qu Show More...

An arrangement of the Minuet in D minor BWV App. 132 for guitar duet from the Anna Magdalena Notebook. The playback tempo of the realisation is 104 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the guitar 1 and guitar 2 parts whilst repeats are played. Both TAB and notated parts are available for this score. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was a collection containing music by J. S. Bach and several of his contemporaries. Close

Minuet in D minor acoustic guitar 1

An arrangement of the Minuet in D minor BWV App. 132 for guitar duet from the Anna Magdalena Notebook. The playback tempo of the realisation is 104 qu Show More...

An arrangement of the Minuet in D minor BWV App. 132 for guitar duet from the Anna Magdalena Notebook. The playback tempo of the realisation is 104 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the guitar 1 and guitar 2 parts whilst repeats are played. Both TAB and notated parts are available for this score. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was a collection containing music by J. S. Bach and several of his contemporaries. Close

Jesu Joy in 8 bass guitar G

This is a simplified and shortened version of one of J.S.Bach’s famous pieces based on a chorale (hymn) melody arranged for electric guitar and bass Show More...

This is a simplified and shortened version of one of J.S.Bach’s famous pieces based on a chorale (hymn) melody arranged for electric guitar and bass guitar with both notated and tab parts. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This essentially two part version has been notated in 8/8 time. The grouping of the 8/8 time signature is 3+3+2 which is a rhythmic template used in much popular music of the 1950’s and 1960’s. Electric guitar & bass guitar accompaniments are also in place sounding at 102, 106, 110, and 114 quarter note (or crotchet) beats to the minute.The arrangement provides very good opportunities to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. This score was upgraded in early 2026 with accompaniments added and instrument parts appended to the full score. Close

Jesu Joy in 8 electric guitar G

This is a simplified and shortened version of one of J.S.Bach’s famous pieces based on a chorale (hymn) melody arranged for electric guitar and bass Show More...

This is a simplified and shortened version of one of J.S.Bach’s famous pieces based on a chorale (hymn) melody arranged for electric guitar and bass guitar with both notated and tab parts. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This essentially two part version has been notated in 8/8 time. The grouping of the 8/8 time signature is 3+3+2 which is a rhythmic template used in much popular music of the 1950’s and 1960’s. Electric guitar & bass guitar accompaniments are also in place sounding at 102, 106, 110, and 114 quarter note (or crotchet) beats to the minute.The arrangement provides very good opportunities to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. This score was upgraded in early 2026 with accompaniments added and instrument parts appended to the full score. Close

Jesu Joy in 8 acoustic guitar 2 G

This is a simplified and shortened version of one of J. S. Bach’s famous pieces based on a chorale (hymn) melody arranged for two acoustic guitars w Show More...

This is a simplified and shortened version of one of J. S. Bach’s famous pieces based on a chorale (hymn) melody arranged for two acoustic guitars with both notated and tab parts. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 8/8 time. The sub grouping of the 8/8 time signature is 3+3+2 which is a rhythmic template often used in much popular music of the late 1950’s and 1960’s and provides very good opportunities to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Close

Jesu Joy in 8 acoustic guitar 1 G

This is a simplified and shortened version of one of J. S. Bach’s famous pieces based on a chorale (hymn) melody arranged for two acoustic guitars w Show More...

This is a simplified and shortened version of one of J. S. Bach’s famous pieces based on a chorale (hymn) melody arranged for two acoustic guitars with both notated and tab parts. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 8/8 time. The sub grouping of the 8/8 time signature is 3+3+2 which is a rhythmic template often used in much popular music of the late 1950’s and 1960’s and provides very good opportunities to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Close

Bourrée bass guitar Em

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on Show More...

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. Arranged for electric guitar and electric bass with conventional notation and tab scores in place this particular this example shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The musical lines are of equal performance and technical difficulty and make it an ideal ensemble piece a guitar duo. Ornaments are in place and sound on the playback score. How they are to be played is shown on ossia staves in the music score. Accompaniments are in place sounding at 58, 60 and 62 half note or minim beats to the minute featuring both the electric guitar and bass guitar parts. Repeats are not played. Players have the choice of reading the music from the full score or the appended parts. The music originates from Bach’s Lute Suite BWV 996. An additional challenge is to play the movement in a swing style. Close

Bourrée electric guitar Em

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on Show More...

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. Arranged for electric guitar and electric bass with conventional notation and tab scores in place this particular this example shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The musical lines are of equal performance and technical difficulty and make it an ideal ensemble piece a guitar duo. Ornaments are in place and sound on the playback score. How they are to be played is shown on ossia staves in the music score. Accompaniments are in place sounding at 58, 60 and 62 half note or minim beats to the minute featuring both the electric guitar and bass guitar parts. Repeats are not played. Players have the choice of reading the music from the full score or the appended parts. The music originates from Bach’s Lute Suite BWV 996. An additional challenge is to play the movement in a swing style. Close

Bourrée acoustic guitar 2 Em

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on Show More...

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. Arranged for an acoustic guitar duet with conventional notation and tab scores in place this particular this example shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. Ornaments are in place and sound on the playback score. How they are to be played is shown on ossia staves in the music score. Players have the choice of reading the music from the full score or the appended parts. Accompaniments are in place sounding at 58, 60 and 62 half note or minim beats to the minute featuring both acoustic guitar 1 and guitar 2 parts. Repeats are not played. Close

Bourrée acoustic guitar 1 Em

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on Show More...

A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. Arranged for an acoustic guitar duet with conventional notation and tab scores in place this particular this example shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. Ornaments are in place and sound on the playback score. How they are to be played is shown on ossia staves in the music score. Players have the choice of reading the music from the full score or the appended parts. Accompaniments are in place sounding at 58, 60 and 62 half note or minim beats to the minute featuring both acoustic guitar 1 and guitar 2 parts. Repeats are not played. Close

Romanze electric & bass guitar F

Sweet Dreams acoustic guitar D

An arrangement for viola accompanied by acoustic guitar in the key of D of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Show More...

An arrangement for viola accompanied by acoustic guitar in the key of D 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) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute. They feature the sound of a nylon strung guitar. The guitarist may need to re-voice one or two of the chords choices to manage the left hand stretches or possibly omit the odd note. Close