An arrangement of this ragtime waltz for viola accompanied by piano in the key of G. A tempo of 110 quarter note (crotchet) beats to the minute is sug Show More...
An arrangement of this ragtime waltz for viola accompanied by piano in the key of G. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and used in the realisation. There are some syncopation challenges whilst piano accompaniments are in place. A viola part is appended to the full score. Close
Added: 14th February, 2026 08:02 AM |
Views : 625
This arrangement is for alto and tenor saxophone sounding in the key of Bb. A tempo of 62 quarter note (crotchet) beats to the minute is used in the r Show More...
This arrangement is for alto and tenor saxophone sounding in the key of Bb. A tempo of 62 quarter note (crotchet) beats to the minute is used in the realisation. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and there is a contrast between the triplet figuration combined with the habanera patten. Accompaniments are in place featuring the sound of the tenor saxophone and they play at 58, 60, 62 and 64 quarter note (crotchet) beats to the minute. There is a 4 bar count in on the accompaniment tracks featuring the sound of the wood block. Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 7th February, 2026 19:02 PM |
Views : 658
When The Saints Go Marching In arranged for cello, acoustic guitar and bass guitar 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 cello, acoustic guitar and bass guitar in the key of D. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. Repeats are in place giving an opportunity possibly for some pizzicato playing on the cello. 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. Chords have also been indicated in the guitar score and there is a TAB score for the bass guitarist. Individual parts are also appended to the full score. The accompaniment mp3 features a string bass in the playback. Close
Added: 29th January, 2026 15:01 PM |
Views : 1160
Over the Waves (Sobre las Olas) in an arrangement for trombone with piano accompaniment. This melody is very much associated with the music of funfai Show More...
Over the Waves (Sobre las Olas) in an arrangement for trombone with piano accompaniment. This melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. This waltz melody should be played at a tempo of around 60 dotted half notes or minim beats to the minute with a singing legato. Accompaniments are in place playing at 60, bpm and a trombone part is appended to the full score in the pdf sheet music download. This is an excellent piece to develop tonal quality over the playing range of the trombone. Close
Added: 21st January, 2026 15:01 PM |
Views : 793
An arrangement for trombone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music Show More...
An arrangement for trombone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The sounding key is F and there are piano accompaniments in place to encourage ensemble playing. Close
Added: 21st January, 2026 09:01 AM |
Views : 807
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habaner Show More...
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular worldwide. This arrangement for trombone and piano is in the key of Bb. A tempo of 62 quarter note (crotchet) beats to the minute is used in the playback. The melody needs to be played with a legato touch whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Piano accompaniments are in place playing at 58, 60, 62 and 64 quarter note or crotchet beats to the minute. The lines of music are rhythmically independent and the left hand piano part should not end up being synchronized with the triplet figuration of the melody. There are many different versions of this piece and the triplet figuration provides challenges on how the music can be both notated and played. Popular rhythms particularly those derived from dance travelled very quickly around the globe in these times and the habanera pattern became an essential rhythmic feature of Argentinian tango music and is familiar from Bizet’s opera Carmen. If you are struggling to understand how to play cross rhythms have a look at one of the threes against two polyrhythms tutorials that are available on YouTube. This is an excellent movement in learning how to play and understand triplets. Close
Added: 20th January, 2026 16:01 PM |
Views : 773
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habaner Show More...
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular worldwide. This arrangement for 2 trombones is in the key of Bb. A tempo of 62 quarter note (crotchet) beats to the minute is suggested and used in the playback. The melody needs to be played with a legato touch whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Trombone 2 accompaniments are in place playing at 58, 60, 62 and 64 quarter note or crotchet beats to the minute. The lines of music are rhythmically independent and the trombone 2 should not end up being synchronized with the triplet figuration of the melody. There are many different versions of this piece and the triplet figuration provides challenges on how the music can be both notated and played. Popular rhythms particularly those derived from dance travelled very quickly around the globe in these times and the habanera pattern became an essential rhythmic feature of Argentinian tango music and is familiar from Bizet’s opera Carmen. If you are struggling to understand how to play cross rhythms have a look at one of the threes against two polyrhythms tutorials that are available on YouTube. This is an excellent movement in learning how to play and understand triplets. Close
Added: 20th January, 2026 16:01 PM |
Views : 824
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habaner Show More...
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular worldwide. This arrangement for viola and piano in the key of D. A tempo of 62 quarter note (crotchet) beats to the minute is suggested and used in the playback. The melody needs to be played with a legato touch whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Piano accompaniments are in place playing at 58, 60, 62 and 64 quarter note or crotchet beats to the minute. The lines of music are rhythmically independent and so the left hand piano pattern should not end up being synchronized with the triplet figuration of the right hand! There are many different versions of this piece and the triplet figuration provides challenges on how the music can be both notated and played. Popular rhythms particularly those derived from dance travelled very quickly around the globe in these times and the habanera pattern became an essential rhythmic feature of Argentinian tango music and is familiar from Bizet’s opera Carmen. If you are struggling to understand how to play cross rhythms have a look at one of the threes against two polyrhythms tutorials that are available on YouTube. This is an excellent movement in learning how to play and understand triplets. Close
Added: 19th January, 2026 11:01 AM |
Views : 852
This arrangement is for viola and cello playing pizzicato is in the key of D. A tempo of 62 quarter note (crotchet) beats to the minute is used in the Show More...
This arrangement is for viola and cello playing pizzicato is in the key of D. A tempo of 62 quarter note (crotchet) beats to the minute is used in the realisation. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and there is a contrast between the triplet figuration combined with the habanera patten. Accompaniments are in place featuring the sound of the pizzicato cello and they play at 58, 60, 62 and 64 quarter note (crotchet) beats to the minute. Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 19th January, 2026 07:01 AM |
Views : 1067
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly an Show More...
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most familiar of Latin American melodies. The waltz is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at a tempo of 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Piano accompaniments are available as an mp3 download from the PlentyMusic website at tempi of (1) 56 (2) 58 and (3) 60 dotted half note (minim) beats to the minute. The music has been transposed to the key of D suitable for the range of the viola. Close
Added: 17th January, 2026 12:01 PM |
Views : 767
An arrangement for viola with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music st Show More...
An arrangement for viola with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. Piano accompaniments are in place and the violist has the option of playing the repeat at the octave. Close
Added: 17th January, 2026 07:01 AM |
Views : 813
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habaner Show More...
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular worldwide. This arrangement for oboe and piano in the key of D. A tempo of around 60 quarter note (crotchet) beats to the minute is suggested and used in the playback. The melody needs to be played with a legato touch whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Piano accompaniments are in place playing at 58, 60, 62 and 64 quarter note or crotchet beats to the minute. The lines of music are rhythmically independent and so the left hand piano pattern should not end up being synchronized with the triplet figuration of the right hand! There are many different versions of this piece and the triplet figuration provides challenges on how the music can be both notated and played. Popular rhythms particularly those derived from dance travelled very quickly around the globe in these times and the habanera pattern became an essential rhythmic feature of Argentinian tango music and is familiar from Bizet’s opera Carmen. If you are struggling to understand how to play cross rhythms have a look at one of the threes against two polyrhythms tutorials that are available on YouTube. Close
Added: 21st November, 2025 10:11 AM |
Views : 1239
Frankie and Johnnie is an improver level piano solo exploring the 12 bar blues in a swing style requiring it to be played with a triplet feel. The con Show More...
Frankie and Johnnie is an improver level piano solo exploring the 12 bar blues in a swing style requiring it to be played with a triplet feel. The convention as far as notating swing rhythm can vary and be confusing. Listen to the realisation score and understand the conventions involved in the notation of the rhythmic shapes. The original text of the song is about jealousy and murder and likely to be in part true. There are hundreds of recordings of the song representing a great range of musical styles. The realisation plays back at 120 dotted quarter (crotchet) beats to the minute although the closing section is played at a slightly slower tempo. The music needs to be played in a relaxed manner and there is opportunity to explore the articulation of the melody notes. The best advice when playing this type of music is to essentially make a performance your own. Close
Added: 30th June, 2020 13:06 PM |
Views : 6876
It is intended to introduce keyboard players to “swing” playing. This slow blues has a simple two part texture. Whilst swing music has a triplet f Show More...
It is intended to introduce keyboard players to “swing” playing. This slow blues has a simple two part texture. Whilst swing music has a triplet feel to it players need to appreciate that the conventions involved in the notation of the rhythm of swing style can vary and be confusing. Listen to the playback score and understand the conventions involved in the writing of swing music by studying the score notated in common time and the appended score in 12/8. Appreciate that swing music can be notated in more than one way. The notation convention in the edited music score with suggested fingering is how this music would normally be presented to the music reading musician. The form of the 32 piece can be represented by the letters A A B A with each section being 8 bars long. Keyboard players should be aiming for fluidity in their playing. The realisation plays back at 110 dotted quarter (crotchet) beats to the minute.
As a warm up to playing the piece the music editor suggests playing through through the following blues upwards and downwards slowly simply to become familiar with the sound of each scale.
Eb major Eb F G Ab Bb C D Eb Eb blues Eb Gb Ab Bbb Bb Db Eb Eb minor Eb F Gb Ab Bb Cb D natural Eb
Instrument players interested in this style of music will need to become familiar with terms like blue note and blues turnaround and spend time listening to blues style piano players particular from the New Orleans area. Close
Added: 24th June, 2020 13:06 PM |
Views : 7009
The One Ten Blues is an improver level piano solo exploring the blues idiom at a medium tempo
Formally it can be represented by the letters A B A with Show More...
The One Ten Blues is an improver level piano solo exploring the blues idiom at a medium tempo
Formally it can be represented by the letters A B A with A having a standard 12 bar blues structure and B being a middle 8 bar section. A percussive approach to playing the keyboard is appropriate for this piece and the rhythm needs to be played in a straight manner. The realisation plays back at 110 dotted quarter (crotchet) beats to the minute. As a warm up to playing the piece the music editor suggests playing through through the following three blues scales upwards and downwards slowly simply to become familiar with the sound of the scale.
C Eb F Gb G Bb C F Ab Bb B (natural) C Eb F G Bb C Db D F G
For those wishing to connect blues music with rock and roll and rhythm and blues spend time listening to recordings by Louis Prima, Big Joe Turner, Louis Jordan, Fats Domino and others. Close
Added: 8th June, 2020 11:06 AM |
Views : 6116
In this arrangement of Tico-Tico for mandolin and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 qu Show More...
In this arrangement of Tico-Tico for mandolin 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 parts for both mandolin and acoustic guitar have TAB charts to support the conventionally notated copy. This syncopated piece is structured into three sections and can be represented formally as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. 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
Added: 15th January, 2020 17:01 PM |
Views : 4245
In this arrangement of Tico-Tico for mandolin and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 qu Show More...
In this arrangement of Tico-Tico for mandolin 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. This syncopated piece is structured into three sections and can be represented formally as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Both players are required to play from the full score. 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
Added: 15th January, 2020 15:01 PM |
Views : 4244
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
Added: 15th January, 2020 15:01 PM |
Views : 5843
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. This syncopated piece is structured into three sections which can be represented formally as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Both players are required to play from the full score. 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
Added: 15th January, 2020 15:01 PM |
Views : 5615
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly an Show More...
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most familiar of Latin American melodies. The waltz is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at a tempo of 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A flute part is appended to the full score and the sounding key is Bb. Piano accompaniments are available as an mp3 download at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 7th January, 2020 21:01 PM |
Views : 3591
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly an Show More...
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most well known Latin American pieces. The waltz melody is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs and was used for the song "The Loveliest Night of the Year" from the MGM film "The Great Caruso." This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation which features two marimbas playsback at 60 dotted half note (minim) beats to the minute and pitched percussion players need to communicate a one to the bar feel in their playing. Piano accompaniments are available as an mp3 download at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 7th January, 2020 19:01 PM |
Views : 4307
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly an Show More...
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most familiar of all Latin American pieces. The waltz melody is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs and was used for the song "The Loveliest Night of the Year" from the MGM film "The Great Caruso." This improver level (second year players) movement is a melody accompanied by vamped chords The realisation plays back at 60 dotted half note (minim) beats to the minute and keyboard players need to communicate a one to the bar feel in their playing. The movement is in ternary form Close
Added: 7th January, 2020 19:01 PM |
Views : 4707
A two part arrangement for piano or keyboard of a melody that became familiar across the world at the end of the 19th century.
This improver level pi Show More...
A two part arrangement for piano or keyboard of a melody that became familiar across the world at the end of the 19th century.
This improver level piano piece has the melody to be played legato together with an ostinato style accompaniment indicated to be played staccato. Editorial detail is in the place in the music score to guide the player.
The realisation plays back plays back at a tempo of 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing.
There are chord symbols in place which provides another option of how to play the piece. Melody with three note the left hand chords as they are written in the music score.
This improver level (second year players) movement in ternary ABA form is an ideal performance piece both as a solo or ensemble piece. Do explore the other arrangements available on the website.
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most familiar of Latin American melodies becoming something of a world wide hit. The waltz is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground.
This sheet music score was reviewed in 2025. Close
Added: 7th January, 2020 19:01 PM |
Views : 4744
Elite Syncopations is one of Scott Joplin best ragtime compositions. If you are not sure how to approach the playing of Joplin’s music listen to th Show More...
Elite Syncopations is one of Scott Joplin best ragtime compositions. If you are not sure how to approach the playing of Joplin’s music listen to the composers own whose remastered piano rolls which are an excellent source of clarifying how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for intermediate level piano which also has suggested fingering in place. The music sounds key in the original key of C. Close
Added: 12th December, 2019 22:12 PM |
Views : 4863
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement, sounding in Ab the clari Show More...
This is an excellent ensemble piece in that it allows for great flexibility in instrument combinations. In this arrangement, sounding in Ab the clarinet in Bb part is transposed in both the full score and the appended solo part. The realisation tempo is 76 quarter note (crotchet) beats to the minute whilst the repeats are not played. What is interesting about performing this piece is the impact of a change of tempo on the musical character and musical outcomes. A tempo of 70 quarter note beats to the minute sounds quite slow and yet 80 quarter note beats to the minute sounds fast. Generally, there is not a great amount of performance detail indicated in ragtime music although where opportunity arises when repeating sections performers need to explore dynamic range. The formal pattern of Joplin’s ragtime pieces generally have the structure of the typical American March which can be represented as Intro AA BB AA Link CC DD. Piano accompanists are advised to make use of the sustaining pedal although this aspect of the performance detail has not been indicated in the music score. Piano accompaniments are available as mp3 downloads at tempi of 68, 72, 76, and 80 quarter note (crotchet) beats to the minute. The repeats are not played in the accompaniments and there is a four bar count in at the beginning. Close
Added: 14th November, 2017 13:11 PM |
Views : 4709
The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to those Show More...
The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to those encountered in his more complex works. His music whilst often sounding simple is always challenging from a performance point of view and there are many aspects of performance to consider when playing his music - namely attention to rhythmic detail, tempo, dynamic range, use of pedals, interpretation of ornaments, amongst others. This arrangement for violin with piano accompaniment is of the fifth movement of the piano suite published in 1908. The suite dedicated to the composer's daughter Chou-Chou has score detail in French and an English title which was possibly chosen to reflect that an English governess was employed to look after his child. The realisation which communicates the musical content satisfactorily does lack fluidity in repect to tempo. Debussy's sound world is individual and while he was not someone who followed musical convention, he, more than any other composer at the end of the 19th century pushed open the door to absorb new musical influences. I would recommend listening to several performances of the work to gain an understanding of how best to approach a performance. Close
Added: 27th July, 2017 11:07 AM |
Views : 3430
The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to thos Show More...
The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to those encountered in his more complex works. His music whilst often sounding simple is always challenging from a performance point of view and there are many aspects of performance to consider when playing his music - namely attention to rhythmic detail, tempo, dynamic range, use of pedals, interpretation of ornaments, amongst others. This arrangement for oboe with piano accompaniment is of the fifth movement of the piano suite published in 1908. The suite dedicated to the composer's daughter Chou-Chou has score detail in French and an English title which was possibly chosen to reflect that an English governess was employed to look after his child. The realisation which communicates the musical content satisfactorily does lack fluidity in repect to tempo. Debussy's sound world is individual and while he was not someone who followed musical convention, he, more than any other composer at the end of the 19th century pushed open the door to absorb new musical influences. I would recommend listening to several performances of the work to gain an understanding of how best to approach a performance. Close
Added: 27th July, 2017 11:07 AM |
Views : 3881
The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to those Show More...
The Little Shepherd from Debussy's Children's Corner Suite is one of the composer's easier pieces although it does offer similar challenges to those encountered in his more complex works. His music whilst often sounding simple is always challenging from a performance point of view and there are many aspects of performance to consider when playing his music - namely attention to rhythmic detail, tempo, dynamic range, use of pedals, interpretation of ornaments, amongst others. This arrangement for clarinet in A with piano accompaniment is of the fifth movement of the piano suite published in 1908. The suite dedicated to the composer's daughter Chou-Chou has score detail in French and an English title which was possibly chosen to reflect that an English governess was employed to look after his child. The realisation which communicates the musical content satisfactorily does lack fluidity in repect to tempo. Debussy's sound world is individual and while he was not someone who followed musical convention, he, more than any other composer at the end of the 19th century pushed open the door to absorb new musical influences.The music editor suggests listening to several performances of the work to gain an understanding of how best to approach a performance. Close
Added: 27th July, 2017 11:07 AM |
Views : 3360
The Little Shepherd from Debussy's Children's Corner Suite is one of the composers easier pieces although it does offer similar challenges to those Show More...
The Little Shepherd from Debussy's Children's Corner Suite is one of the composers easier pieces although it does offer similar challenges to those encountered in his more complex works. His music whilst often sounding simple is always challenging from a performance point of view and there are many aspects of performance to consider when playing his music - namely attention to rhythmic detail, tempo, dynamic range, use of pedals, interpretation of ornaments, amongst others. This arrangement for flute with piano accompaniment is of the fifth movement of the piano suite published in 1908. The suite dedicated to the composer's daughter Chou-Chou has score detail in French and an English title which was possibly chosen to reflect that an English governess was employed to look after his child. The realisation which communicates the musical content satisfactorily does lack fluidity in repect to tempo and at times is a little rushed. Debussy's sound world is individual and while he was not someone who followed musical convention, he, more than any other composer at the end of the 19th century pushed open the door absorb new musical influences. The music editor suggests listening to several performances of the work to gain an understanding of how best to approach a performance. Close
Added: 27th July, 2017 11:07 AM |
Views : 3519
The Little Shepherd from Debussy's Children's Corner Suite" is one of the composer's easier pieces although it does offer similar challenges to thos Show More...
The Little Shepherd from Debussy's Children's Corner Suite" is one of the composer's easier pieces although it does offer similar challenges to those encountered in his more complex works. His music whilst often sounding simple is always challenging from a performance point of view and there are many aspects of performance to consider when playing his music - namely attention to rhythmic detail, tempo, dynamic range, use of pedals, interpretation of ornaments, amongst others. The piano suite was published in 1908 and is dedicated to the composer's daughter Chou-Chou and whilst the score detail is in French, the choice of English titles was chosen to possibly reflect that an English governess was employed to look after his child. The realisation which communicates the musical content satisfactorily does lack fluidity in repect to tempo. Debussy's sound world is individual and while he was not someone who followed musical convention, he, more than any other composer at the end of the 19th century pushed open the door to absorb the new musical influences of the 20th century. The music editor suggests istening to several performances of the work to gain an understanding of how best to approach a performance. Close
Added: 27th July, 2017 11:07 AM |
Views : 4465
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of Bb. Ther Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of Bb. There are some octave transpositions to keep the trumpet in Bb in a convenient range and some of the articulation markings that feature in the original score have been removed or modified to encourage a flowing melody line. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 3680
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of Bb. Ther Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of Bb. There are some octave transpositions to keep the soprano saxophone in a convenient range and some of the articulation markings that feature in the original score have been removed or modified to encourage a flowing melody line. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 3547
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of A. There Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece sounding in the key of A. There are some octave transpositions to keep the oboe part in a convenient range and some of the articulation markings that feature in the original score have been edited to encourage a flowing melody line. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the piece has became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 3644
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. There are some octave transpo Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. There are some octave transpositions to keep the flute part in a convenient range and some of the articulation markings that feature in the piano score have been removed or modified to avoid a melody line that becomes exaggerarated. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 3608
This is the piano version composed in 1905 and dedicated to the composer's younger brother. A tempo in the range of 84-90 quarter note (crotchet) bea Show More...
This is the piano version composed in 1905 and dedicated to the composer's younger brother. A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments. The clarity of line in his musical textures is a strong feature of his compositional style. The title, Escovado, is a common slang term which means smart or cunning and it became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 4473
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece arranged for flute and two guit Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece arranged for flute and two guitars. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composer's best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 5555
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. If an accordion is not availab Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. If an accordion is not available a keyboard or melody instrument can be substituted.The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composer's best known works. The accompanying guitar players may wish to refer to the TAB score which is also available. Close
Added: 27th July, 2017 11:07 AM |
Views : 5028
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. The formal pattern used by the Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composers best known works. Close
Added: 27th July, 2017 11:07 AM |
Views : 5521
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. The formal pattern used by the Show More...
A tempo in the range of 84-90 quarter note (crotchet) beats to the minute is recommended for this sunny ensemble piece. The formal pattern used by the composer can be represented by the letters ABACA whilst the repeat signs have been retained in the realisation. Nazareth was an exceptionally gifted pianist and whilst the pianistic influence is understandably strong in his compositions his music which transfers well to other instruments particularly those of the plucked variety. The clarity of line in his musical textures is a strong feature of his compositional style. Escovado was composed in 1905 and dedicated to the composer's younger brother. The title is a common slang term which means smart or cunning and the composition became one of the composer best known works. The notated guitar parts also have TAB charts. Close
Added: 27th July, 2017 11:07 AM |
Views : 4729
The rhythmic template used in this movement is based on a familiar and popular dance rhythm of Debussy's time. Musical ideas need to be clearly articu Show More...
The rhythmic template used in this movement is based on a familiar and popular dance rhythm of Debussy's time. Musical ideas need to be clearly articulated and I would suggest little use of the sustaining pedal. Pianists should listen to a several versions of the piece to understand the interpretive possibilities and options that can be considered. The realisation is a little hurried and lacks a little of the give and take needed in a performance. There are also one or inconsistencies in respect to the interpretation of the dynamics. In Debussy's scores, there is always a great amount of score detail. Taken from his Children's Corner Suite all the movements are worth while exploring. Close
Added: 27th July, 2017 11:07 AM |
Views : 4008
This version has a piano accompaniment derived from the original piano work by Nazareth (1863 -1934) and is more difficult to play than the arranged Show More...
This version has a piano accompaniment derived from the original piano work by Nazareth (1863 -1934) and is more difficult to play than the arranged version that feature in the solo instrument with piano accompaniment scores. Nazareth was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and a solo flute part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3559
Nazareth (1863 -1934) was a Brazilian composer and pianist whose compositional style absorbs many different influences Brazilian, European, African an Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. This is the original piano version although I would suggest that pianists listen to different arrangements and performances of the piece. Close
Added: 27th July, 2017 11:07 AM |
Views : 4538
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to other instruments. His compositional st Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to other instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and a marimba part is appended to the music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3534
Nazareth (1863 -1934) was a Brazilian composer and pianist whose compositional style absorbs many different influences Brazilian, European, African an Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. In terms of the arrangement, there has been some simplication of the texture although the core musical material remains intact. I would recommend listening to different versions of this simply lovely piece played by a range instrument of combinations. The original version is also available, on the website, for the brave and accomplished! Close
Added: 27th July, 2017 11:07 AM |
Views : 3720
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to other instruments. His compositional st Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to other instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and a solo soprano saxophone part with the appropriate transposition is appended to the music score. There are some octave transpositions in the melody where the range of the solo instrument proves limiting. Close
Added: 27th July, 2017 11:07 AM |
Views : 3783
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to other instruments. His compositional st Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to other instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and a solo bassoon part utilising bass and tenor clefs is appended to the full score. There are some octave transpositions in the melody where the range of the solo instrument proves limiting. Close
Added: 27th July, 2017 11:07 AM |
Views : 3485
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His c Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and a solo Bb clarinet with the appropriate transposition is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3617
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His c Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested and a solo flute part is appended to the full score. There is another version available on the website for the very competent pianist based on the original rather than an arranged score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3508
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments and in Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments and in the context of this piece particular ones with plucked strings in an ensemble. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Some of the chord voicings in the guitar parts have been changed and there are some octave transpositions in the melody where the range of the solo instrument proves limiting. On the second beat of Bar 52 mandolin, for example, players may also choose to play the second E an octave higher on the 12th fret. It is quite probable that if you listen to this piece played by Brazilian musicians that the bandolim and cavaquinho will feature. The bandolim is the name for the mandolin in Brazil - the instrument arrived in Brazil from Portugal. The cavaquinho is a small string instrument of the European guitar family with four wire or gut strings similar to the ukulele although tuned differently. There is also a TAB version of this work available on the website with appended instrument parts. Close
Added: 27th July, 2017 11:07 AM |
Views : 5405
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His c Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Some of the chord voicings in the guitar parts have been changed and there are some octave transpositions in the melody where the range of the solo instrument proves limiting. The acoustic guitar part is notated conventonally with supporting chord symbols. If a marimba not available a keyboard instruments with an accordion/free reed sound can be used. Close
Added: 27th July, 2017 11:07 AM |
Views : 4775
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His c Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Some of the chord voicings in the guitar parts have been changed and there are some octave transpositions in the melody where the range of the solo instrument proves limiting. The TAB parts for the acoustic and bass guitar means that the score is quite cluttered so I would advise switching to the non TAB score when the music has been learnt. If an accordion is not available a keyboard instruments with an accordion/free reed sound can be used. Close
Added: 27th July, 2017 11:07 AM |
Views : 4448
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments and in Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments and in the context of this piece particular ones with plucked strings in an ensemble. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischievous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Some of the chord voicings in the guitar parts have been changed and there are some octave transpositions in the melody where the range of the solo instrument proves limiting. The mandolin and acoustic guitar parts have TAB support which makes the score a little cluttered and as a consequence individual instrument parts are appended to the full score. On the second beat of Bar 52 mandolin players may also choose to play the second E an octave higher on the 12th fret. It is quite probable that if you listen to this piece played by Brazilian musicians that the bandolim and cavaquinho will feature. The bandolim is the name for the mandolin in Brazil - the instrument arrived in Brazil from Portugal. The cavaquinho is a small string instrument of the European guitar family with four wire or gut strings similar to the ukulele although tuned differently. Close
Added: 27th July, 2017 11:07 AM |
Views : 5171
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments . His Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments . His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischevous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Some of the chord voicings in the guitar parts have been changed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3924
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments and in Show More...
Nazareth (1863 -1934) was a Brazilian composer and pianist whose music transcribes very well from the piano to popular contemporary instruments and in the context of this piece particular ones with plucked strings in an ensemble. His compositional style absorbs many different influences Brazilian, European, African and ragtime. He composed tangos, waltzes, polkas, sambas, galops, Scottisches and fox-trots and although classically trained was very familiar with the popular musical idioms of his day both at home and abroad. Brejeiro is described as a tango and the English translation of the Portugese word Brejeiro is impish meaning fun or mischievous. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Some of the chord voicings in the guitar parts have been changed and there are some octave transpositions in the melody where the range of the solo instrument proves limiting. On the second beat of Bar 52 mandolin players may choose to play the second E an octave lower on the open string. It is quite probable that if you listen to this piece played by Brazilian musicians that the bandolim and cavaquinho will feature. The bandolim is the name for the mandolin in Brazil - the instrument arrived in Brazil from Portugal. The cavaquinho is a small string instrument of the European guitar family with four wire or gut strings similar to the ukulele although tuned differently. Close
Added: 27th July, 2017 11:07 AM |
Views : 4223
In this arrangement of Tico-Tico for soprano saxophone with piano accompaniment the sounding key is C minor/major and a tempo of 84 quarter note (crot Show More...
In this arrangement of Tico-Tico for soprano saxophone with piano accompaniment the sounding key is C minor/major and a tempo of 84 quarter note (crotchet) beats to the minute is used in the realization in which the repeats are played. The soprano saxophone part appropriately transposed is also appended to the full score. The piece is structured into three sections and the formal pattern can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments are available as mp3 downloads playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close
Added: 27th July, 2017 11:07 AM |
Views : 4103
IIn this arrangement of Tico-Tico for clarinet in Bb with piano accompaniment the sounding key is C minor/major and a tempo of 84 quarter note (crotch Show More...
IIn this arrangement of Tico-Tico for clarinet in Bb with piano accompaniment the sounding key is C minor/major and a tempo of 84 quarter note (crotchet) beats to the minute is used in the realization in which the repeats are played. The clarinet part has been appropriately transposed in the appended solo part but is at pitch in the piano score. The piece is structured into three sections and the formal pattern can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments are available as mp3 downloads playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close
Added: 27th July, 2017 11:07 AM |
Views : 4336
In this arrangement of Tico-Tico for bassoon with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 8 Show More...
In this arrangement of Tico-Tico for bassoon with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. A bassoon part is appended to the full score. The piece is structured into three sections and the formal pattern of the realization played with repeats can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments are available as mp3 downloads playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close
Added: 27th July, 2017 11:07 AM |
Views : 6130
In this arrangement of Tico-Tico for marimba with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 8 Show More...
In this arrangement of Tico-Tico for marimba with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. A marimba part is appended to the full score. The piece is structured into three sections and the formal pattern of the realization played with repeats can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments are available as mp3 downloads playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close
Added: 27th July, 2017 11:07 AM |
Views : 6660
In this arrangement of Tico-Tico for flute with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 84 Show More...
In this arrangement of Tico-Tico for flute with piano accompaniment the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. The piece is structured into three sections and it can be satisfactorily performed with or without repeats. A flute part is also appended to the score. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. There is understandably in this Brazilian piece a strong syncopated element. Piano accompaniments playing at (1) 88 (2) 84 (3) 84 quarter note(crotchet) beats to the minute are available as mp3 downloads enabling players to enjoy and participate in an ensemble music activity as part of their practice routine. Close
Added: 27th July, 2017 11:07 AM |
Views : 5558
In this intermediate level arrangement for solo piano the sounding key is A minor/major and a tempo of 88 quarter note (crotchet) beats to the minute Show More...
In this intermediate level arrangement for solo piano the sounding key is A minor/major and a tempo of 88 quarter note (crotchet) beats to the minute is recommended. The piece is structured into three sections and it can be satisfactorily performed with or without repeats. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. . Close
Added: 27th July, 2017 11:07 AM |
Views : 4585
In this arrangement of Tico-Tico for mandolin, acoustic guitar and string bass the sounding key is A minor/major and the realization plays back at a t Show More...
In this arrangement of Tico-Tico for mandolin, acoustic guitar and string bass the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats played. The piece is structured into three sections and can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Accompaniments featuring the acoustic guitar and upright bass can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute Close
Added: 27th July, 2017 11:07 AM |
Views : 5354
In this arrangement of Tico-Tico for mandolin + TAB, acoustic guitar and string bass the sounding key is A minor/major and the realization plays back Show More...
In this arrangement of Tico-Tico for mandolin + TAB, acoustic guitar and string bass the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. The mandolin part is written in staff notation and TAB whilst the acoustic guitar part is conventionally notated with a chord chart. This syncopated piece is structured into three sections which can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Accompaniments featuring the acoustic guitar and upright can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 5481
In this arrangement of Tico-Tico for flute and acoustic guitar + TAB the sounding key is in A minor/major and the realization plays back at a tempo of Show More...
In this arrangement of Tico-Tico for flute and acoustic guitar + TAB the sounding key is in A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute This strongly syncopated piece is structured into three sections which can be represented as AABBAACCA. A flute and an acoustic guitar with TAB chart to support the conventionally notated copy are appended to the full music score. . The piece is structured into three sections and it can be satisfactorily performed with or without repeats. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. 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
Added: 27th July, 2017 11:07 AM |
Views : 4061
In this arrangement of Tico-Tico for flute and acoustic guitar the sounding key is A minor/major and the realization plays back at a tempo of 84 quart Show More...
In this arrangement of Tico-Tico for flute 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. This strongly syncopated piece is structured into three sections which can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Both players are required to play from the full score. Accompaniments featuring the acoustic guitar can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 84 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4199
InIn this arrangement of Tico-Tico for flute, acoustic guitar and string bass the sounding key is A minor/major and a tempo of 80 quarter note (crotch Show More...
InIn this arrangement of Tico-Tico for flute, acoustic guitar and string bass the sounding key is A minor/major and a tempo of 80 quarter note (crotchet) beats to the minute is recommended. This strongly syncopated piece is structured into three sections which can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Individual instrument parts are appended to the full score and accompaniments featuring the acoustic guitar and string bass can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4814
In this arrangement of Tico-Tico for marimba, acoustic guitar and string bass the sounding key is A minor/major and the realization plays back at a te Show More...
In this arrangement of Tico-Tico for marimba, acoustic guitar and string bass the sounding key is A minor/major and the realization plays back at a tempo of 84 quarter note (crotchet) beats to the minute with the repeats being played. This syncopated piece is structured into three sections which can be represented as AABBAACCA. Dating from 1917 this Brazilian choro (lament) was composed by Abreu and whilst there is no definitive notated version it is a piece that has travelled widely in various different formats. It is an excellent ensemble piece and there are many arrangement possibilities suited to both formal or more informal music making activities. Individual instrument parts are appended to the full score and accompaniments featuring the acoustic guitar and string bass can be downloaded as mp3 files playing at (1) 88 (2) 84 (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 6163
An arrangement for soprano saxophone and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of F. The score for the Show More...
An arrangement for soprano saxophone and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of F. The score for the soprano saxophone part is appended to the full score and where the high range of the instrument is to be used an alternative ending is given notated in the ossia staff. The realisation lacks a little subtlety in terms of ebb and flow as far as the tempo is concerned. The best advice is that a performance should not be rushed. Debussy scores contain much score detail and the original French language has been retained in this aspect of the notation. Performers will need to read the music carefully as there are many accidentals in the score attributable to the modal shifts in the writing. Debussy was something of a rule breaker in his approach to composition concerned more with sound rather than process. I would suggest listening to several performances of the piece with different instrument combinations to understand the interpretative options that are possible. Interestingly in his scores, Debussy always put his titles at the end of his scores in his prelude collections. Close
Added: 27th July, 2017 11:07 AM |
Views : 2700
An arrangement for oboe and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of G. The score for the oboe part is Show More...
An arrangement for oboe and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of G. The score for the oboe part is appended to the full score and where the high range of the instrument is to be used an alternative ending is given notated in the ossia staff. The realisation lacks a little subtlety in terms of ebb and flow as far as the tempo is concerned. The best advice is that a performance should not be rushed. Debussy scores contain much score detail and the original French language has been retained in this aspect of the notation. Performers will need to read the music carefully as there are many accidentals in the score attributable to the modal shifts in the writing. Debussy was something of a rule breaker in his approach to composition concerned more with sound rather than process. I would suggest listening to several performances of the piece with different instrument combinations to understand the interpretative options that are possible. Interestingly Debussy in his scores always put his titles at the end of his pieces in his prelude collections. Close
Added: 27th July, 2017 11:07 AM |
Views : 4118
An arrangement for clarinet in Bb and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of F. The score for the cl Show More...
An arrangement for clarinet in Bb and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of F. The score for the clarinet part is appended to the full score and where the high range of the instrument is to be used at the close an alternative ending is given notated in the ossia staff. The realisation lacks a little subtlety in terms of ebb and flow as far as the tempo is concerned. The best advice is that a performance should not be rushed. Debussy scores contain much score detail and the original French language has been retained in this aspect of the notation. Performers will need to read the music carefully as there are many accidentals in the score attributable to the modal shifts in the writing. Debussy was something of a rule breaker in his approach to composition concerned more with sound rather than process. I would suggest listening to several performances of the piece with different instrument combinations to understand the interpretative options that are possible. Interestingly in his scores, Debussy always put his titles at the end of his scores in his prelude collections. Close
Added: 27th July, 2017 11:07 AM |
Views : 3550
An arrangement for flute and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of G. The score for the flute part Show More...
An arrangement for flute and piano of this beautiful impressionist piece which dates from 1910 sounding in the key of G. The score for the flute part is appended to the full score. The realisation lacks a little subtlety in terms of ebb and flow as far as the tempo is concerned. The best advice is that a performance should not be rushed. Debussy scores contain much score detail and the original French language has been retained in this aspect of the notation. Performers will need to read the music carefully as there are many accidentals in the score attributable to the modal shifts in the writing. Debussy was something of a rule breaker in his approach to composition concerned more with sound rather than process. I would suggest listening to several performances of the piece with different instrument combinations to understand the interpretative options that are possible. Interestingly in his scores, Debussy always put his titles at the end of his pieces in his prelude collections. Close
Added: 27th July, 2017 11:07 AM |
Views : 3336
This is Debussy's original piano version of The Girl with the Flaxen Hair (La fille aux cheveux de lin) which dates from 1910. A beautiful impressio Show More...
This is Debussy's original piano version of The Girl with the Flaxen Hair (La fille aux cheveux de lin) which dates from 1910. A beautiful impressionist piece, the realisation lacks a little subtlety in terms of ebb and flow as far as the tempo is concerned. The best advice is that a performance should not be rushed. Debussy scores contain much score detail and the original French language has been retained in this aspect of the notation. Performers will need to read the music carefully as there are many accidentals in the score attributable to the modal shifts in the writing. Debussy was something of a rule breaker in his approach to composition concerned more with sound rather than process. The music editor suggests listening to several performances of the piece with different instrument combinations to understand the interpretative options that are possible. Interestingly with his scores, Debussy always put his titles at the end of his pieces in his prelude collections. Close
Added: 27th July, 2017 11:07 AM |
Views : 3761
Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishin Show More...
Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishing and the manufacture of pianos. This arrangement for oboe and bassoon is from a movement of one of his Opus 36 piano sonatinas. This particular piece has been selected to encourage fast playing and the realisation has a tempo of 72 dotted quarter note (crotchet) beats to the minute. Vivace is Italian for lively. Close
Added: 27th July, 2017 11:07 AM |
Views : 4249
An arrangement for cello with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music st Show More...
An arrangement for cello with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3722
An arrangement for tenor saxophone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popula Show More...
An arrangement for tenor saxophone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of F and the tenor saxophone part has been appropriately transposed. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3858
An arrangement for oboe with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music sty Show More...
An arrangement for oboe with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of G. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3327
An arrangement for flute with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music s Show More...
An arrangement for flute with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of G and the flute player has the option of playing the repeat at the octave. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3445
An arrangement for clarinet in Bb with piano accompaniment of the chorus of Any Rags? that demonstrates many of the essential elements of an emerging Show More...
An arrangement for clarinet in Bb with piano accompaniment of the chorus of Any Rags? that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of F whilst the clarinet part is appropriately transposed. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3683
An arrangement for bassoon with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music Show More...
An arrangement for bassoon with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of F. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3427
An arrangement for alto saxophone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popula Show More...
An arrangement for alto saxophone with piano accompaniment of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of F and the alto saxophone part is appropriately transposed. Four piano accompaniments playing at 72, 76, 80 and 84 beats per minute are available with the beat being a half note or minim. A 4 bar introduction giving the pulse and sounding on a woodblock is also in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3900
An arrangement piano and/or keyboard of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the be Show More...
An arrangement piano and/or keyboard of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. The piece sounds in the key of F. Close
Added: 27th July, 2017 11:07 AM |
Views : 4546
An arrangement for mandolin, acoustic guitar and electric bass with TAB of this song chorus that demonstrates many of the essential elements of an eme Show More...
An arrangement for mandolin, acoustic guitar and electric bass with TAB of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. In this version, the guitar player is required to play selected notes of the chord and these are notated in conventional staff notation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4499
An arrangement for mandolin, acoustic guitar and double bass of this song chorus that demonstrates many of the essential elements of an emerging popul Show More...
An arrangement for mandolin, acoustic guitar and double bass of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. There are chord symbols/diagrams to assist the guitar player whilst the slash chord symbol is used to indicate the rhythm of the strumming pattern in conventional staff notation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4592
An arrangement for mandolin, acoustic guitar and double bass of this song chorus that demonstrates many of the essential elements of an emerging popul Show More...
An arrangement for mandolin, acoustic guitar and double bass of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. In this version, the guitar player is required to play selected notes of the chord and these are notated in conventional staff notation. Close
Added: 27th July, 2017 11:07 AM |
Views : 5325
An arrangement for two guitars and electric bass of this song chorus that demonstrates many of the essential elements of an emerging popular music sty Show More...
An arrangement for two guitars and electric bass of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. In the realisation the melody is played by a muted electric guitar the chords are played by an acoustic guitar and the bass by a fretted bass guitar. There are chord symbols/diagrams to assist the acoustic guitar player whilst the slash chord symbol is used to indicate the rhythm of the strumming pattern in conventional staff notation. Close
Added: 27th July, 2017 11:07 AM |
Views : 5657
An arrangement for banjo, acoustic guitar and electric bass with TAB of this song chorus that demonstrates many of the essential elements of an emergi Show More...
An arrangement for banjo, acoustic guitar and electric bass with TAB of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. In this version, the guitar player is required to play selected notes of the chord and these are notated both in conventional staff notation and TAB. Close
Added: 27th July, 2017 11:07 AM |
Views : 4450
An arrangement for two guitars and electric bass, all with TAB, of this song chorus that demonstrates many of the essential elements of an emerging p Show More...
An arrangement for two guitars and electric bass, all with TAB, of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. In the realisation the melody is played by a muted electric guitar, whilst selected notes of the chord are sounded by an acoustic guitar and the bass by a fretted bass guitar. Close
Added: 27th July, 2017 11:07 AM |
Views : 5531
An arrangement for two guitars and electric bass of this song chorus that demonstrates many of the essential elements of an emerging popular music st Show More...
An arrangement for two guitars and electric bass of this song chorus that demonstrates many of the essential elements of an emerging popular music style at the beginning of the 20th century. It is a characterful and musical piece suited to being played as a link between scenes in a show or something with a similar context. In the realisation the melody is played by a muted electric guitar, whilst selected notes of the chord are sounded by an acoustic guitar and the bass by a fretted bass guitar. There is no TAB support in this version. Close
Added: 27th July, 2017 11:07 AM |
Views : 4885
In this improver version for solo piano or keyboard the 8 bar melody first played with the bass outline and is then repeated first with a simple vampe Show More...
In this improver version for solo piano or keyboard the 8 bar melody first played with the bass outline and is then repeated first with a simple vamped chord accompaniment and then with a an accompaniment where the accompaniment changes with each beat. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended and is used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4824
An arrangement for two clarinets in Bb of this piece intended to introduce players to the musical elements that feature in ragtime. One clarinet plays Show More...
An arrangement for two clarinets in Bb of this piece intended to introduce players to the musical elements that feature in ragtime. One clarinet plays the melody whilst the other plays the accompanying bass line. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. Players are welcome to repeat the 8 bars in performance possibly changing parts which have been transposed to sound in the key of Bb. Close
Added: 27th July, 2017 11:07 AM |
Views : 3484
An arrangement for clarinet in Bb and bass clarinet of this piece intended to introduce players to the musical elements that feature in ragtime. The c Show More...
An arrangement for clarinet in Bb and bass clarinet of this piece intended to introduce players to the musical elements that feature in ragtime. The clarinet in Bb plays the melody whilst the bass clarinet plays the accompanying bass line. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. Players are welcome to repeat the 8 bars in performance. Both instrument parts have been transposed to sound in the key of Bb. Close
Added: 27th July, 2017 11:07 AM |
Views : 4580
An arrangement for trumpet in Bb and trombone of this piece intended to introduce players to the musical elements that feature in ragtime. The trumpet Show More...
An arrangement for trumpet in Bb and trombone of this piece intended to introduce players to the musical elements that feature in ragtime. The trumpet in Bb plays the melody whilst the trombone plays the accompanying bass line. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. Players are welcome to repeat the 8 bars in performance. The trumpet part has been transposed to sound in the key of Bb. Close
Added: 27th July, 2017 11:07 AM |
Views : 4457
An arrangement for violin and cello of this piece intended to introduce players to the musical elements that feature in ragtime. The violin plays the Show More...
An arrangement for violin and cello of this piece intended to introduce players to the musical elements that feature in ragtime. The violin plays the melody whilst the cello plays the accompanying bass line. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. Players are welcome to repeat the 8 bars in performance. Close
Added: 27th July, 2017 11:07 AM |
Views : 4008
An arrangement for horn in F (French horn) and trombone of this piece intended to introduce players to the musical elements that feature in ragtime. T Show More...
An arrangement for horn in F (French horn) and trombone of this piece intended to introduce players to the musical elements that feature in ragtime. The horn in F plays the melody whilst the trombone plays the accompanying bass line. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. Players could quite easily repeat the the 8 bars. Close
Added: 27th July, 2017 11:07 AM |
Views : 4422
An arrangement for violoncello, acoustic guitar and double bass of this piece intended to introduce players to the musical elements that feature in ra Show More...
An arrangement for violoncello, acoustic guitar and double bass of this piece intended to introduce players to the musical elements that feature in ragtime. The violoncello plays the melody whilst the acoustic guitarist plays chords with has symbols/chord diagrams to assist. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended and it is suggested that the piece is is played through twice as it is in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4110
An arrangement for two guitars & bass guitar of this piece intended to introduce players to the musical elements that feature in ragtime. The guitar p Show More...
An arrangement for two guitars & bass guitar of this piece intended to introduce players to the musical elements that feature in ragtime. The guitar playing the melody has TAB supporting the notation whilst the guitar playing chords has symbols/chord diagrams to assist the player. The bass guitar part is also has TAB supporting conventional staff notation. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended and it is suggested that the piece is is played through twice as it is in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4632
An arrangement for trombone, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in ragtime Show More...
An arrangement for trombone, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in ragtime. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. The acoustic guitar part has chord symbols to assist the player and it is suggested that the piece is is played through twice as it is in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4269
An arrangement for tenor or descant recorder, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that f Show More...
An arrangement for tenor or descant recorder, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in ragtime. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. The acoustic guitar part has chord symbols to assist the player and it is suggested that the piece is is played through twice as it is in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4453
An arrangement for mandolin, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in the rag Show More...
An arrangement for mandolin, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in the ragtime style. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. The mandolin notation has TAB support and the acoustic guitar part has chord symbols to assist the player. It is suggested that the piece is is played through twice as in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4781
An arrangement for flute, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in the ragtim Show More...
An arrangement for flute, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in the ragtime style. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. The acoustic guitar part has chord symbols to assist the player and it is suggested that the piece is is played through twice as in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4311
An arrangement for banjo, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in the ragtim Show More...
An arrangement for banjo, acoustic guitar & double bass of this piece intended to introduce players to the musical elements that feature in the ragtime style. A tempo of 110 quarter notes (crotchet) beats to the minute is suggested. The banjo notation is supported by TAB and the acoustic guitar notation has chord symbols to assist the player. Close
Added: 27th July, 2017 11:07 AM |
Views : 4387
A harder and longer version of this beginner piece to introduce piano and keyboard players to the musical elements that feature in ragtime music. In t Show More...
A harder and longer version of this beginner piece to introduce piano and keyboard players to the musical elements that feature in ragtime music. In this version a simple accompaniment based on chords is introduced in the second play through of the melody. A tempo of 110 quarter notes (crotchet) beats to the minute is suggested whilst the letter names of the notes are written in the note head. Fingering is clearly specified. Close
Added: 27th July, 2017 11:07 AM |
Views : 4558
A two part beginner piece to introduce piano and keyboard players to the musical elements that feature in ragtime music namely syncopated rhythms and Show More...
A two part beginner piece to introduce piano and keyboard players to the musical elements that feature in ragtime music namely syncopated rhythms and clearly articulated chord based melody shapes. A tempo of 110 quarter notes (crotchet) beats to the minute is suggested. There is a keyboard graphic to support beginner players whilst the letter names of the notes are written in the note heads. Fingering is also clearly specified. Close
Added: 27th July, 2017 11:07 AM |
Views : 4579
A two part beginner piece to introduce instrument players to the musical elements that feature in ragtime music
namely syncopated rhythms and clearly Show More...
A two part beginner piece to introduce instrument players to the musical elements that feature in ragtime music
namely syncopated rhythms and clearly articulated melody shapes typically based on chords. A tempo of 110 quarter notes (crotchet) beats to the minute is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 4071
An arrangement of this ragtime waltz for violin accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is Show More...
An arrangement of this ragtime waltz for violin accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3707
An arrangement of this ragtime waltz for trombone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and i Show More...
An arrangement of this ragtime waltz for trombone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. The sounding key is Eb and there are 3 piano accompaniments in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 4017
An arrangement of this ragtime waltz for tenor saxophone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggeste Show More...
An arrangement of this ragtime waltz for tenor saxophone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. As the sounding key is F the tenor saxophone part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 3842
An arrangement of this ragtime waltz for trumpet in Bb accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested a Show More...
An arrangement of this ragtime waltz for trumpet in Bb accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. As the sounding key is F the trumpet part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 4023
An arrangement of this ragtime waltz for flute accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is us Show More...
An arrangement of this ragtime waltz for flute accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. There are some syncopation challenges whilst accompaniments are in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3469
An arrangement of this ragtime waltz for clarinet in Bb accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested Show More...
An arrangement of this ragtime waltz for clarinet in Bb accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. As the sounding key is F the clarinet part has been appropriately transposed. Piano accompaniments are in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3758
An arrangement of this ragtime waltz for alto saxophone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested Show More...
An arrangement of this ragtime waltz for alto saxophone accompanied by piano. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. As the sounding key is F the alto saxophone part has been appropriately transposed. Piano accompaniments are also in place Close
Added: 27th July, 2017 11:07 AM |
Views : 3735
An arrangement of this ragtime waltz for piano or keyboard. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the Show More...
An arrangement of this ragtime waltz for piano or keyboard. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. In this version the right hand plays the melody whist the left hand either plays either in octaves or vamped chords. Specified fingering is also clearly indicated in the score. Close
Added: 27th July, 2017 11:07 AM |
Views : 4620
A two part arrangement of this ragtime waltz for trumpet in Bb and trombone. A tempo of 110 quarter note (crotchet) beats to the minute is suggested a Show More...
A two part arrangement of this ragtime waltz for trumpet in Bb and trombone. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. As the sounding key is F the trumpet part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 4478
A two part arrangement of this ragtime waltz for clarinet in Bb and bass clarinet. A tempo of 110 quarter note (crotchet) beats to the minute is sugge Show More...
A two part arrangement of this ragtime waltz for clarinet in Bb and bass clarinet. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. The sounding key is F so that the instrument parts are appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 4618
A two part arrangement of this ragtime waltz for flute and bassoon. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is use Show More...
A two part arrangement of this ragtime waltz for flute and bassoon. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3957
An arrangement of this ragtime waltz for mandolin and acoustic guitar with both instruments notated in staff notation and TAB. The mandolin plays the Show More...
An arrangement of this ragtime waltz for mandolin and acoustic guitar with both instruments notated in staff notation and TAB. The mandolin plays the melody whilst the guitar plays voiced chords and a bass line. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 3727
An arrangement of this ragtime waltz for two guitars with Tab. In the realisation one electric guitar is featured and one acoustic. The second guitar Show More...
An arrangement of this ragtime waltz for two guitars with Tab. In the realisation one electric guitar is featured and one acoustic. The second guitar plays voiced chords and a bass line. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 5062
An arrangement of this ragtime waltz for ukelele with TAB, acoustic guitar and double bass or bass guitar with TAB. The acoustic guitar chords are not Show More...
An arrangement of this ragtime waltz for ukelele with TAB, acoustic guitar and double bass or bass guitar with TAB. The acoustic guitar chords are notated with both chord symbols/diagrams and a slash chord in staff notation to indicate the chord rhythm. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is the one used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 5391
An arrangement of this ragtime waltz for violin, acoustic guitar and double bass The acoustic guitar chords are notated with both chord symbols/diagra Show More...
An arrangement of this ragtime waltz for violin, acoustic guitar and double bass The acoustic guitar chords are notated with both chord symbols/diagrams and the notes to be sounded in staff notation. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 100 quarter note (crotchet) beats to the minute is used in the realsation which some players might find just a little on the slow side. Close
Added: 27th July, 2017 11:07 AM |
Views : 4257
An arrangement of this ragtime waltz for mandolin, acoustic guitar and bass guitar with TAB for the mandolin and bass guitar. The acoustic guitar cho Show More...
An arrangement of this ragtime waltz for mandolin, acoustic guitar and bass guitar with TAB for the mandolin and bass guitar. The acoustic guitar chords are notated with both chord symbols/diagrams and the notes to be sounded in staff notation. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is the one used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4789
An arrangement of this ragtime waltz for mandolin, acoustic guitar and double bass The acoustic guitar chords are notated with both chord symbols/diag Show More...
An arrangement of this ragtime waltz for mandolin, acoustic guitar and double bass The acoustic guitar chords are notated with both chord symbols/diagrams and the notes to be sounded in staff notation. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is the one used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4434
An arrangement of this ragtime waltz for flute, acoustic guitar and double bass The acoustic guitar chords are notated with both chord symbols/diagram Show More...
An arrangement of this ragtime waltz for flute, acoustic guitar and double bass The acoustic guitar chords are notated with both chord symbols/diagrams and the notes to be sounded in staff notation. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is the one used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4085
In this arrangement of the ragtime waltz for banjo, acoustic guitar and bass guitar each of the instruments has conventional notation with TAB. The ba Show More...
In this arrangement of the ragtime waltz for banjo, acoustic guitar and bass guitar each of the instruments has conventional notation with TAB. The banjo is tuned G, D, G, B, D which is known as open tuning and is the most generally used 5-string banjo tuning. The acoustic guitar chords are notated with both chord symbols/diagrams and the notes to be sounded in staff notation. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is the one used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4385
In this arrangement of the ragtime waltz for banjo, acoustic guitar and double bass, the banjo is tuned G, D, G, B, D which is known as open tuning Show More...
In this arrangement of the ragtime waltz for banjo, acoustic guitar and double bass, the banjo is tuned G, D, G, B, D which is known as open tuning and is the most generally used 5-string banjo tuning. The acoustic guitar chords are notated with both chord symbols/diagrams and the notes to be sounded in staff notation. N.C. in the score refers to the fact that there is simply no chord to be played. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is the one used in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 4357
This is easy to play two part ragtime piece exploring the waltz rhythm. A tempo of 100-110 quarter note (crotchet) beats to the minute is suggested. Show More...
This is easy to play two part ragtime piece exploring the waltz rhythm. A tempo of 100-110 quarter note (crotchet) beats to the minute is suggested. As a beginner score the letter names of the notes are written inside the extra large noteheads. In this arrangement for pitched percussion several instruments could be utilised including glockenspiel, metallaphone and xylophone. The realisation features the sounds of the marimba. Close
Added: 27th July, 2017 11:07 AM |
Views : 4415
This is easy to play two part ragtime piece exploring the waltz rhythm. A tempo of 100-110 quarter note (crotchet) beats to the minute is suggested. A Show More...
This is easy to play two part ragtime piece exploring the waltz rhythm. A tempo of 100-110 quarter note (crotchet) beats to the minute is suggested. As a beginner score the letter names of the notes are written inside the extra large note heads and there is recommended fingering. A competent performance would suggest that the player is ready to tackle improver level pieces. Close
Added: 27th July, 2017 11:07 AM |
Views : 4695
Elite Syncopations is another very well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how thi Show More...
Elite Syncopations is another very well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for tenor saxophone accompanied by piano.The sounding key is F and the solo instrument part is appended to the full music score with the appropriate transposition. The same ragtime piece is often heard played at varying tempos but the best advice is not to play too fast. It does need to be played consistently and with simplicity even though some of the sections are technically quite challenging. Some of the repeat sections have the option of playing the melody up an octave but this may prove to be too challenging for some instrumentalists. Close
Added: 27th July, 2017 11:07 AM |
Views : 3391
Elite Syncopations is another very well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how thi Show More...
Elite Syncopations is another very well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for flute accompanied by piano.The sounding key is G and the solo instrument part is appended to the full music score . The same ragtime piece is often heard played at varying tempos but the best advice is not to play too fast. It does need to be played consistently and with simplicity even though some of the sections are technically quite challenging. Some of the repeat sections have the option of playing the melody up an octave but this may prove to be too challenging for some instrumentalists. Close
Added: 27th July, 2017 11:07 AM |
Views : 3326
Elite Syncopations is another high quality ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this s Show More...
Elite Syncopations is another high quality ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for violin accompanied by piano.The sounding key is G and the solo instrument part is appended to the full music score . The same ragtime piece is often heard played at varying tempos but the best advice is not to play too fast. It does need to be played consistently and with simplicity even though some of the sections are technically quite challenging. Some of the repeat sections have the option of playing the melody up an octave but this may prove to be too challenging for some instrumentalists. Close
Added: 27th July, 2017 11:07 AM |
Views : 3153
“Elite Syncopations” is another well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how th Show More...
“Elite Syncopations” is another well known ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for clarinet in Bb accompanied by piano. The sounding key is Eb although the solo instrument part is appended to the full music score with the appropriate transposition. The same ragtime piece is often heard played at varying tempos but the best advice is not to play too fast. It does need to be played consistently and with simplicity even though some of the sections are technically quite challenging. Some of the repeat sections have the option of playing the melody up an octave but this may prove to be too challenging for some instrumentalists. This score reviewed in early 2026 with a realisation added in which the repeats are not played. Accompaniments have also been added playing at bpm. There is a 4 bar count in featuring the sound of the woodblock. Close
Added: 27th July, 2017 11:07 AM |
Views : 4216
Elite Syncopations is another high quality ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this Show More...
Elite Syncopations is another high quality ragtime piece by Scott Joplin whose remastered piano rolls are a good source of understanding of how this style of music should be performed. A tempo of 78 quarter note (crotchet) beats to the minute is recommended in this arrangement for alto saxophone accompanied by piano. The sounding key is F although the solo instrument part is appended to the full music score with the appropriate transposition. The same ragtime piece is often heard played at varying tempos but the best advice is not to play too fast. It does need to be played consistently and with simplicity even though some of the sections are technically quite challenging. Some of the repeat sections have the option of playing the melody up an octave but this may prove to be too challenging for some instruments. Close
Added: 27th July, 2017 11:07 AM |
Views : 3930
In this arrangement for violin with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is r Show More...
In this arrangement for violin with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is recommended whilst the solo instrument part is appended to the full music score. Players may well want to challenge the intermediate level that has been given for this piece because it may well be better described as being at an advanced level. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite challenging to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 3266
In this arrangement of "The Entertainer" for clarinet in Bb with piano accompaniment the sounding key is Bb whilst a tempo of around 72 quarter note ( Show More...
In this arrangement of "The Entertainer" for clarinet in Bb with piano accompaniment the sounding key is Bb whilst a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. The solo instrument part is appended to the full music score with the appropriate transposition. Players may well want to challenge the intermediate level that has been given for this piece because it may well be better described as being at an advanced level. Scott Joplin's The Entertainer is described as a Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin;s own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite challenging to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 3503
In this arrangement for trombone with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is Show More...
In this arrangement for trombone with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. The solo instrument part is appended to the full music score. Players may well want to challenge the intermediate level that has been given for this piece because it may well be better described as being at an advanced level. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite challenging to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 3453
In this arrangement for flute with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is re Show More...
In this arrangement for flute with piano accompaniment sounding in the key of C a tempo of around 72 quarter note (crotchet) beats to the minute is recommended whilst the solo instrument part is appended to the full music score. Players may well want to challenge the intermediate level that has been given for this piece because it may well be better described as being at an advanced level. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 3459
In this arrangement for tenor saxophone with piano accompaniment sounding in the key of Bb a tempo of around 72 quarter note (crotchet) beats to the m Show More...
In this arrangement for tenor saxophone with piano accompaniment sounding in the key of Bb a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. The solo instrument part with the appropriate transposition is appended to the full music score. Players may well want to challenge the intermediate level that has been given for this piece. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 4229
In this duo arrangement for mandolin and acoustic guitar, without TAB, a tempo of around 72 quarter note (crotchet) beats to the minute is recommended Show More...
In this duo arrangement for mandolin and acoustic guitar, without TAB, a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin's The Entertainer which he described as A Rag Time Two Step was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 4265
In this trio arrangement for violin, acoustic guitar and string/upright/double bass a tempo of around 72 quarter note (crotchet) beats to the minute i Show More...
In this trio arrangement for violin, acoustic guitar and string/upright/double bass a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 4544
In this duo arrangement for violin and acoustic guitar a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin's Show More...
In this duo arrangement for violin and acoustic guitar a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin's The Entertainer which he described as A Rag Time Two Stepwas composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 3692
This duo arrangement for mandolin with TAB and acoustic guitar also with TAB has a suggested tempo of around 72 quarter note (crotchet) beats to the Show More...
This duo arrangement for mandolin with TAB and acoustic guitar also with TAB has a suggested tempo of around 72 quarter note (crotchet) beats to the minute. Scott Joplin's The Entertainer is described as A Rag Time Two Step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 3911
In this trio arrangement for mandolin, acoustic guitar and string/upright/double bass a tempo of around 72 quarter note (crotchet) beats to the minute Show More...
In this trio arrangement for mandolin, acoustic guitar and string/upright/double bass a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin’s The Entertainer is described as a ragtime two step was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin’s own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 5116
In this trio arrangement for mandolin with TAB, acoustic guitar with TAB and string/upright/double bass a tempo of around 72 quarter note (crotchet) b Show More...
In this trio arrangement for mandolin with TAB, acoustic guitar with TAB and string/upright/double bass a tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Scott Joplin’s The Entertainer is described as a ragtime two step and was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin’s own remastered piano rolls to obtain an understanding of the performance style. Ragtime music is also quite deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 5194
Scott Joplin's The Entertainer which he described as A Rag Time Two Step was composed in 1902. The music is instantly recognisable, which is a disadva Show More...
Scott Joplin's The Entertainer which he described as A Rag Time Two Step was composed in 1902. The music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. A tempo of around 72 quarter note (crotchet) beats to the minute is recommended in this arrangement for flute and acoustic guitar duo. Close
Added: 27th July, 2017 11:07 AM |
Views : 3529
This is Joplin's piano original of The Entertainer which he described as A Rag Time Two Step. Composed in 1902, this music is instantly recognisable, Show More...
This is Joplin's piano original of The Entertainer which he described as A Rag Time Two Step. Composed in 1902, this music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so the music editor suggests listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. A tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Ragtime music is deceptive in that it sounds easy on the ear but is actually quite a challenge for the fingers to play. Close
Added: 27th July, 2017 11:07 AM |
Views : 4525
The intermediate version of "The Entertainer" includes all the main musical sections of the original. Chords have been more appropriately voiced for Show More...
The intermediate version of "The Entertainer" includes all the main musical sections of the original. Chords have been more appropriately voiced for the beginner player and the texture simplified so that the right hand octaves are omitted. Described as A Rag Time Two Step and composed in 1902, this music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. A tempo of around 72 quarter note (crotchet) beats to the minute is recommended. Close
Added: 27th July, 2017 11:07 AM |
Views : 6481
Described as a Rag Time Two Step and composed in 1902, this music is instantly recognisable, which is a disadvantage to any instrumentalist because as Show More...
Described as a Rag Time Two Step and composed in 1902, this music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. A tempo of around 72 quarter note (crotchet) beats to the minute is suggested in this arrangement for flute, acoustic guitar and double bass. Close
Added: 27th July, 2017 11:07 AM |
Views : 4499
In this arrangement one guitarist plays the melody and the other plays the chords. Each player is helped by graphics in the form of guitar TAB and cho Show More...
In this arrangement one guitarist plays the melody and the other plays the chords. Each player is helped by graphics in the form of guitar TAB and chord diagrams. Chords are played on the main beats of the bar whilst the melody is syncopated. This is a cut down version omitting the final two sections which make up the trio. Described as Rag Time Two Step and composed in 1902, this music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. A tempo of around 72 quarter note (crotchet) beats to the minute is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 3814
In this improver level arrangement the right hand plays the outline melody accompanied by the left hand playing chords. Fingering is specified and pla Show More...
In this improver level arrangement the right hand plays the outline melody accompanied by the left hand playing chords. Fingering is specified and players are helped by graphics to show which notes are to be played for the chords. When chords are subsequently repeated only the chord symbol is given. This is a cut down version omitting the final two sections of the Trio. Described as a "Rag Time Two Step" and composed in 1902, this music is instantly recognisable, which is a disadvantage to any instrumentalist because as a consequence it needs to played both accurately and musically. Ragtime is the first readily identifiable modern popular music in that it has elements and links with popular music that succeeded it. Unfortunately, much ragtime music is played very badly and frequently at too fast a tempo so I would suggest listening to Scott Joplin's own remastered piano rolls to obtain an understanding of the performance style. A tempo of around 72 quarter note (crotchet) beats to the minute is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 4697
An atmospheric two part arrangement of this familiar tango piece and probably quite a challenge for an intermediate level violinist. A tempo of 60-66 Show More...
An atmospheric two part arrangement of this familiar tango piece and probably quite a challenge for an intermediate level violinist. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. The English translation of El Choclo is the "The Ear of Corn". Close
Added: 27th July, 2017 11:07 AM |
Views : 4021
This very popular tango dates from 1903 and is probably quite a challenge for an improver level piano/keyboard player. A tempo of 60-66 quarter note Show More...
This very popular tango dates from 1903 and is probably quite a challenge for an improver level piano/keyboard player. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. The English translation of El Choclo is the "The Ear of Corn". Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 4641
This very popular tango dates from 1903 and is probably quite a challenge for an improver level flute player. A tempo of 60-66 quarter note (crotchet Show More...
This very popular tango dates from 1903 and is probably quite a challenge for an improver level flute player. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. The English translation of El Choclo is the "The Ear of Corn". Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3838
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". The instruments specified are electric guitar Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". The instruments specified are electric guitar & bass guitar but these could be substituted by acoustic instruments. The slur markings appear in the conventionally notated music score but not the TAB version. Players once they are familiar with the music can introduced and apply some guitar techniques characteristic of the instrument - "pull offs" and "hammer ons" - to the melody line. However, it may also be necessary to change some of the TAB positions and strings currently specified to ensure consistency in the playing approach. This is probably quite a challenge for an improver level guitarist but the TAB support should help and the triplet figuration has been omitted. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 4679
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn."This arrangement for violin with piano accompa Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn."This arrangement for violin with piano accompaniment sounding in D minor has the solo instrument part with the appropriate transposition appended to the full music score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Ãngel Villoldo (1861 - 1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3076
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." This arrangement for bassoon with piano accom Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." This arrangement for bassoon with piano accompaniment sounding in C minor has the solo instrument part with the appropriate transposition appended to the full music score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3178
This very popular tango dates from 1903. The English translation of El Choclo is "The Ear of Corn." This arrangement for alto saxophone with piano ac Show More...
This very popular tango dates from 1903. The English translation of El Choclo is "The Ear of Corn." This arrangement for alto saxophone with piano accompaniment sounding in C minor has the solo instrument part with the appropriate transposition appended to the full music score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3417
This very popular tango dates from 1903. The English translation of El Choclo is "The Ear of Corn." This arrangement for clarinet in Bb with a piano Show More...
This very popular tango dates from 1903. The English translation of El Choclo is "The Ear of Corn." This arrangement for clarinet in Bb with a piano accompaniment is in C minor and has the solo instrument part with the appropriate transposition appended to the full music score. In this example the transposition is also shown in the full score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3911
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." This arrangement for flute with a piano accom Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." This arrangement for flute with a piano accompaniment is in D minor and has the solo instrument part appended to the full music score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments , various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3134
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." This arrangement for cello with a piano accom Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." This arrangement for cello with a piano accompaniment is in D minor and has the solo instrument part appended to the full music score. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments , various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3406
This very popular tango dates from 1903. The English translation of El Choclo is the The Ear of Corn.This arrangement for tenor saxophone with a pian Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the The Ear of Corn.This arrangement for tenor saxophone with a piano accompaniment is in C minor and has the solo instrument part appended to the full music score with the appropriate transposition. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. Players can chose whether or not to include the triplet ornamentation. An adaptable piece this movement exists in arrangements for solo instruments , various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 3537
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." A tempo of 60-66 quarter note (crotchet) notes Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn." A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. An adaptable piece this movement exists in arrangements for solo instruments , various duos, cafe style groups and orchestra. Guitarists have the option of changing the chord positions on the fretboard to alter the chord voicing and improve the ensemble. The double bass is to be played pizzicato throughout the arrangement and can be substituted by bass guitar or an acoustic bass guitar. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 5093
This very popular tango dates from 1903. The English translation of El Choclo is the The Ear of Corn. A tempo of 60-66 quarter note (crotchet) notes Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the The Ear of Corn. A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. An adaptable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Guitarists have the option of changing the chord positions on the fretboard to alter the chord voicing and improve the ensemble. The double bass is to be played pizzicato throughout the arrangement and can be substituted by bass guitar or an acoustic bass guitar. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 4384
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". This version for two guitars with double bas Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". This version for two guitars with double bass version has a playback tempo of 60 quarter note (crotchet) notes to the minute. Guitarists have the option of changing the chord positions on the fretboard to alter the chord voicing and improve the ensemble. The double bass is to be played pizzicato throughout the arrangement and can be substituted by bass guitar or an acoustic bass guitar. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world. Close
Added: 27th July, 2017 11:07 AM |
Views : 5065
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". A tempo of 60-66 quarter note (crotchet) notes Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the "The Ear of Corn". A tempo of 60-66 quarter note (crotchet) notes to the minute is recommended. The ornaments should possibly not be included in a performance until the piece is being played accurately and securely. Guitarists have the option of changing the chord positions on the fretboard to change the chord voicing and improve the ensemble. The double bass is to be played pizzicato throughout the arrangement and can be substituted by bass guitar or an acoustic bass guitar. An adapable piece this movement exists in arrangements for solo instruments, various duos, cafe style groups and orchestra. Ãngel Villoldo (1861-1919) was an Argentinian composer and a pioneer of tango which became very popular from both the music and dancing point of view towards the end of the nineteenth century. It is popular today both in Argentina from where it originates and is a familiar and recognisable music style around the world.Tango is typically played on instruments such as the accordion, piano, guitar, violin and double bass. The bandoneon (with its accordion sound) is a type of concertina has become one of the standard instruments found in a Argentinian tango ensemble Close
Added: 27th July, 2017 11:07 AM |
Views : 5753
This very popular tango dates from 1903. The English translation of El Choclo is the The Ear of Corn. A tempo of 62-66 quarter note (crotchet) notes t Show More...
This very popular tango dates from 1903. The English translation of El Choclo is the The Ear of Corn. A tempo of 62-66 quarter note (crotchet) notes to the minute is recommended. The ornaments should possibly not be included in a performance until the piece is being played accurately and securely. Guitarists have the option of changing the chord positions on the fretboard to change the chord voicing and improve the ensemble. The double bass is to be played pizzicato throughout the arrangement and can be substituted by bass guitar or an acoustic bass guitar. An adapable piece this movement exists in arrangements for solo instruments , various duos, cafe style groups and orchestra. The sound of the accordion is usually represented by the bandoneon in Argentina which is a type of concertina. It is a title well worth exploring in search engines to both see and hear the results. Close
Added: 27th July, 2017 11:07 AM |
Views : 4513
This arrangement is for improver piano in the key of C. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody Show More...
This arrangement is for improver piano in the key of C. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 4159
This improver level two part arrangement is for pitched percussion (glockenspiel, marimba, xylophone) in the key of D and in intended to be played as Show More...
This improver level two part arrangement is for pitched percussion (glockenspiel, marimba, xylophone) in the key of D and in intended to be played as a duet. A tempo of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3250
This improver level two part arrangement is for flute and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute i Show More...
This improver level two part arrangement is for flute and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3738
This improver level two part arrangement is for flute and bassoon in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute Show More...
This improver level two part arrangement is for flute and bassoon in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Accompaniments are in place featuring the bassoon. Close
Added: 27th July, 2017 11:07 AM |
Views : 3790
This improver level two part arrangement is for clarinet in Bb and bass clarinet sounding in the key Bb. A tempo of of around 60 quarter note (crotche Show More...
This improver level two part arrangement is for clarinet in Bb and bass clarinet sounding in the key Bb. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Accompaniments are in place playing at 58, 60, 62 and 64 quarter note (crotchet) beats to the minute with a 4 bar count in sounding on the woodblocks. Close
Added: 27th July, 2017 11:07 AM |
Views : 4421
This improver level two part arrangement is for violin and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute Show More...
This improver level two part arrangement is for violin and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma†(The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3798
This improver level two part arrangement is for two acoustic guitars with TAB in the key of D. A tempo of of around 60 quarter note (crotchet) beats t Show More...
This improver level two part arrangement is for two acoustic guitars with TAB in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3504
This simple two part arrangement is for mandolin and acoustic guitar in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the min Show More...
This simple two part arrangement is for mandolin and acoustic guitar in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3960
This improver level two part arrangement is for two acoustic guitars with TAB in the key of C. A tempo of of around 60 quarter note (crotchet) beats Show More...
This improver level two part arrangement is for two acoustic guitars with TAB in the key of C. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3614
This improver level two part arrangement is for two acoustic guitars accompanied in the key of C. A tempo of of around 60 quarter note (crotchet) beat Show More...
This improver level two part arrangement is for two acoustic guitars accompanied in the key of C. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3635
This improver level two part arrangement is for tenor recorder accompanied by an acoustic guitar in the key of C. A tempo of of around 60 quarter note Show More...
This improver level two part arrangement is for tenor recorder accompanied by an acoustic guitar in the key of C. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3564
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Show More...
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. This copy does not have any suggested fingering whilst a tempo of 110 quarter note (crotchet) beats to the minute is recommended. Close
Added: 27th July, 2017 11:07 AM |
Views : 3819
This arrangement is for marimba , acoustic guitar and acoustic or string bass in staff notation has individual parts appended to the full music score. Show More...
This arrangement is for marimba , acoustic guitar and acoustic or string bass in staff notation has individual parts appended to the full music score. The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 4567
This arrangement is for banjo, acoustic guitar and acoustic or string bass in staff notation. The polka is a lively characterful dance that originated Show More...
This arrangement is for banjo, acoustic guitar and acoustic or string bass in staff notation. The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Homehas been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 4672
This arrangement is for banjo, acoustic guitar and bass guitar with each instrument part having TAB. As such it is quite a long score so that when the Show More...
This arrangement is for banjo, acoustic guitar and bass guitar with each instrument part having TAB. As such it is quite a long score so that when the parts are familiar I would suggest switching to the other version of this piece without TAB. The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 3750
This is an arrangement for 3 clarinets in Bb with a bass clarinet. The polka is a lively characterful dance that originated from the area now known as Show More...
This is an arrangement for 3 clarinets in Bb with a bass clarinet. The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. The individual clarinet parts are also appended to the full music score. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 4324
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Show More...
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. The solo oboe part is appended to the full music score. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 3531
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Show More...
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. The solo bassoon part is appended to the full music score. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 3337
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Show More...
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. The solo clarinet part is appended to the full music score appropriately transposed. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 3194
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Show More...
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. The solo saxophone part is appended to the full music score. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 3548
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Show More...
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 3492
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Show More...
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Solo parts are also appended to the full music score and the guitar part has chord diagrams to assist the player. Foster's Soirée Polka is a rhythmic and appealing piece piece suited to being played by a wide range of instruments and instrumental groups although the music needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. Stephen Foster (1826-1864) is known as the father of American music responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Solo parts are appended to the full music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3979
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely thro Show More...
The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is a chararacterful and rhythmic piece suited to being played by a wide range of instruments and instrumental groups. The music needs to be played lightly and a tempo of 110 quarter note (crotchet) beats to the minute is recommended. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close
Added: 27th July, 2017 11:07 AM |
Views : 3943
This arrangement is for two clarinets in Bb and string bass. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The me Show More...
This arrangement is for two clarinets in Bb and string bass. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3818
This arrangement is for two ukulele and acoustic guitar with dropped D tuning. Each of the parts has both staff and TAB notation and individual parts Show More...
This arrangement is for two ukulele and acoustic guitar with dropped D tuning. Each of the parts has both staff and TAB notation and individual parts are appended to the full music score. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment cello figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3677
This arrangement is for two violins and cello playing in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggeste Show More...
This arrangement is for two violins and cello playing in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment cello figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3611
This arrangement is for two flutes and cello playing in the key of G. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested Show More...
This arrangement is for two flutes and cello playing in the key of G. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment cello figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 3442
This arrangement is for violin, viola and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The Show More...
This arrangement is for violin, viola and cello in the key of D. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment cello figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 4905
An intermediate level arrangement for solo piano in the key of C. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. Th Show More...
An intermediate level arrangement for solo piano in the key of C. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. This version is in the key of C and has suggested fingering. Close
Added: 27th July, 2017 11:07 AM |
Views : 3456
An intermediate level arrangement for piano. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested.The melody needs to be Show More...
An intermediate level arrangement for piano. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested.The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Sebastiian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. This version is in C and has suggested fingering. Close
Added: 27th July, 2017 11:07 AM |
Views : 4737
This version is for intermediate level piano in the key of G. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The me Show More...
This version is for intermediate level piano in the key of G. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. This version is in G and has suggested fingering. Close
Added: 27th July, 2017 11:07 AM |
Views : 3529
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo alto saxophone part, transposed to the appropriate key, is also appended to the full music score. There is also a piano accompaniment available for this score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3647
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo viola part is appended to the full music score. Piano accompaniments are in place playing at 58, 60, 62 and 64 bpm Close
Added: 27th July, 2017 11:07 AM |
Views : 3718
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo flute part is appended to the full music score and piano accompaniments are in place. Close
Added: 27th July, 2017 11:07 AM |
Views : 3632
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo oboe part is appended to the full music score and an accompaniment is available. Close
Added: 27th July, 2017 11:07 AM |
Views : 3490
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo violin part is also appended to the full music score. An accompaniment is available to encourage ensemble practice. Close
Added: 27th July, 2017 11:07 AM |
Views : 3180
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo cello part is also appended to the full music score and there is an accompaniment available. Close
Added: 27th July, 2017 11:07 AM |
Views : 3598
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo tenor saxophone part, transposed to the appropriate key, is also appended to the full music score. Piano accompaniments are in place playing at 58,60,62 and 64 quarter notes bpm. Close
Added: 27th July, 2017 11:07 AM |
Views : 3668
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habaner Show More...
Sebastián Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, “La Paloma” (The Dove) was written after the composer visited Cuba around 1860 and became very popular worldwide. This arrangement for clarinet in Bb sounds in the key of C. A tempo of around 60 quarter note (crotchet) beats to the minute is suggested and used in the playback. The melody needs to be played with a legato touch whilst the accompaniment figuration should be played staccato or certainly in a detached manner. Piano accompaniments are in place playing at 58, 60, 62 and 64 quarter note or crotchet beats to the minute. The lines of music are rhythmically independent and so the left hand piano pattern should not end up being synchronized with the triplet figuration of the right hand! There are many different versions of this piece and the triplet figuration provides challenges on how the music can be both notated and played. Popular rhythms particularly those derived from dance travelled very quickly around the globe in these times and the habanera pattern became an essential rhythmic feature of Argentinian tango music and is familiar from Bizet’s opera Carmen. If you are struggling to understand how to play cross rhythms have a look at one of the threes against two polyrhythms tutorials that are available on YouTube. This is an excellent movement in learning how to play triplets. Close
Added: 27th July, 2017 11:07 AM |
Views : 3624
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera Show More...
Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. The melody needs to be played legato whilst the accompaniment figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be notated and played. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The solo bassoon part is also appended to the full music score and there is an accompaniment available for this score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3275
This is an intermediate level version of Satie's march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm Show More...
This is an intermediate level version of Satie's march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise humorous piece dating from 1904. An alto saxophone part is appended to the full music score. 3 piano accompaniments are available playing at 92, 96 and 100 quarter note beats to the minute. Each has a 4 bar introduction indicating the tempo that sounds on a wood block. There is a one bar silent bar before the repeat of the A section. Close
Added: 27th July, 2017 11:07 AM |
Views : 3576
This is an intermediate level version of Satie's march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm Show More...
This is an intermediate level version of Satie's march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise humorous piece dating from 1904. A bassoon part is appended to the full music score.
3 piano accompaniments are available playing at 92, 96 and 100 quarter note beats to the minute. Each has a 4 bar introduction indicating the tempo that sounds on a wood block. There is a one bar silent bar before the repeat of the A section. Close
Added: 27th July, 2017 11:07 AM |
Views : 3508
This is an intermediate level version of Satie's march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm Show More...
This is an intermediate level version of Satie's march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise humorous piece dating from 1904. The music copy has been edited with right and left hand fingering. Close
Added: 27th July, 2017 11:07 AM |
Views : 4187
This is Satie's original version of the march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm which was Show More...
This is Satie's original version of the march inspired by the music of the ragtime era. It is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise humorous piece dating from 1904. Close
Added: 27th July, 2017 11:07 AM |
Views : 4147
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo Show More...
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise cheerful piece dating from 1904. A tenor saxophone part appropriately transposed is appended to the full score. 3 piano accompaniments are available playing at 92, 96 and 100 quarter note beats to the minute. Each has a 4 bar introduction indicating the tempo that sounds on a wood block. There is a one bar silent bar before the repeat of the A section. Close
Added: 27th July, 2017 11:07 AM |
Views : 3550
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo Show More...
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise cheerful piece dating from 1904. A clarinet score score with the appropriate transposition is appended to the full score. 3 piano accompaniments are available playing at 92, 96 and 100 quarter note beats to the minute. Each has a 4 bar introduction indicating the tempo that sounds on a wood block. There is a one bar silent bar before the repeat of the A section. Close
Added: 27th July, 2017 11:07 AM |
Views : 3173
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo Show More...
This march inspired by the music of the ragtime era is a cabaret piece featuring the cakewalk rhythm which was popular in Paris around 1900. A tempo of 96 quarter note (crotchet) beats to the minute is suggested for this concise cheerful piece dating from 1904. A flute part is appended to the full score. 3 piano accompaniments are available playing at 92, 96 and 100 quarter note beats to the minute. Each has a 4 bar introduction indicating the tempo that sounds on a wood block. There is a one bar silent bar before the repeat of the A section. Close
Added: 27th July, 2017 11:07 AM |
Views : 4234
Ignacio Cervantes (1847-1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) o Show More...
Ignacio Cervantes (1847-1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) originally composed for piano is one of his Danzas Cubanas exploring the habanera rhythm. It is a short piece usually played through twice in a performance. It has a haunting quality and is suited to being played by a number of different instrument combinations with this arrangement specifying clarinets in A. His music combines Cuban, European and African elements and he was fortunate in being able to travel to Paris to further his music studies studying with Charles-Valentin Alkan and others. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 5211
Ignacio Cervantes (1847-1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) o Show More...
Ignacio Cervantes (1847-1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) originally composed for piano is one of his Danzas Cubanas exploring the habanera rhythm. It is a short piece usually played through twice in a performance. It has a haunting quality and is suited to being played by a number of different instrument combinations. His music combines Cuban, European and African elements and he was fortunate in being able to travel to Paris to further his music studies studying with Charles-Valentin Alkan and others. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 4417
Ignacio Cervantes (1847-1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) o Show More...
Ignacio Cervantes (1847-1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) originally composed for piano is one of his Danzas Cubanas exploring the habanera rhythm. It is a short piece usually played through twice in a performance. It has a haunting quality and is suited to being played by a number of different instrument combinations. Whilst string bass and acoustic guitar are specified in the score there is room for flexibility in the approach and electric instruments may be substituted. His music combines Cuban, European and African elements and he was fortunate in being able to travel to Paris to further his music studies studying with Charles-Valentin Alkan and others. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 5472
Ignacio Cervantes (1847-1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) o Show More...
Ignacio Cervantes (1847-1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) originally composed for piano is one of his Danzas Cubanas exploring the habanera rhythm. It is a short piece usually played through twice in a performance. It has a haunting quality and is suited to being played by a number of different instrument combinations. His music combines Cuban, European and African elements and he was fortunate in being able to travel to Paris to further his music studies studying with Charles-Valentin Alkan and others. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 4390
Ignacio Cervantes (1847 - 1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) Show More...
Ignacio Cervantes (1847 - 1905) was a Cuban pianist and composer and his music is an early example of nationalism. Los Tres Golpes (The Three Strikes) originally composed for piano is one of his Danzas Cubanas exploring the habanera rhythm. It is a short piece usually played through twice in a performance. It has a haunting quality and is suited to being played by a number of different instrument combinations. His music combines Cuban, European and African elements and he was fortunate in being able to travel to Paris to further his music studies studying with Charles-Valentin Alkan and others. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. Close
Added: 27th July, 2017 11:07 AM |
Views : 4893
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 most familiar of all Latin American pieces which has been interpreted by many stylistically different types of performing groups. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Guitar accompaniments are available as mp3 downloads at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4328
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
Added: 27th July, 2017 11:07 AM |
Views : 4216
This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Show More...
This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A violin part is appended to the music score. Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3888
This 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 Show More...
This melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. This improver level (second year players) waltz movement is in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A clarinet in Bb part appropriately transposed is appended to the full music score. Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3578
The melody from Over the Waves is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the Show More...
The melody from Over the Waves is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A violoncello part is appended to the music score.Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3841
This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Show More...
This waltz melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and has become one of the best known Latin American pieces and has been interpreted by many stylistically different types of performing groups. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A tenor saxophone part appropriately transposed is appended to the music score. Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 58 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4210
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 s been interpreted by many stylistically different types of performing groups. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A bassoon part is appended to the full score.Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3648
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly an Show More...
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most familiar of Latin American melodies. The waltz is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at a tempo of 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. A trumpet in Bb part appropriately transposed is appended to the full music score. Piano accompaniments are available as an mp3 download at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4266
The 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...
The 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 interpreted by many stylistically different types of performing groups. An alto saxophone part appropriately transposed is appended to the music score. 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. Piano accompaniments are available to be downloaded at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4090
A familiar waltz melody that lends itself to being played by a wide variety of instruments. This arrangement for two guitars has TAB support and with Show More...
A familiar waltz melody that lends itself to being played by a wide variety of instruments. This arrangement for two guitars has TAB support and with the realisation being played at 60 dotted half note (minim) beats to the minute by two acoustic guitars. 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 interpreted by many stylistically different types of performing groups. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Guitar accompaniments are available at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 5297
A familiar waltz that lends itself to being arranged and played by several different instrument combinations. The melody is very much associated with Show More...
A familiar waltz that lends itself to being arranged and played by several different instrument combinations. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs. Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most well known Latin American pieces. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Close
Added: 27th July, 2017 11:07 AM |
Views : 4628
A familiar waltz melody that lends itself to being played by a wide variety of instruments.Rosas was a Mexican composer and violinist who began his ca Show More...
A familiar waltz melody that lends itself to being played by a wide variety of instruments.Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most well known Latin American pieces. The waltz melody is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs and was used for the song "The Loveliest Night of the Year" from the MGM film "The Great Caruso." This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Guitar accompaniments are available at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 3944
A familiar melody that lends itself to being played by a wide variety of instruments. Rosas was a Mexican composer and violinist who began his career Show More...
A familiar melody that lends itself to being played by a wide variety of instruments. Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most well known Latin American pieces. The waltz melody is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Guitar accompaniments are available at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 5182
Both mandolin and guitar parts have TAB. Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba i Show More...
Both mandolin and guitar parts have TAB. Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most well known Latin American pieces. The waltz melody is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs and has even featured in the MGM film "The Great Caruso." The TAB scores do seem a bit cluttered in their detail but once the music has been learnt players can refer to the notation copies. This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation plays back at 60 dotted half note (minim) beats to the minute and players need to communicate a one to the bar feel in their playing. Guitar accompaniments are available at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 4370
An arrangement for violin with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo violin part is Show More...
An arrangement for violin with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo violin part is also appended to the full score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 4155
An arrangement for violoncello with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo violoncell Show More...
An arrangement for violoncello with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo violoncello part is also appended to the score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 3446
An arrangement for trombone with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo trombone part Show More...
An arrangement for trombone with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo trombone part is also appended to the score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 3118
An arrangement for oboe with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo oboe part is also Show More...
An arrangement for oboe with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo oboe part is also appended to the score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 3134
An arrangement for bassoon with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo bassoon part i Show More...
An arrangement for bassoon with piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo bassoon part is also appended to the score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 3513
An arrangement for horn in F (French horn) with a piano accompaniment of this attractive melodic piece which was composed and published in 1888. The s Show More...
An arrangement for horn in F (French horn) with a piano accompaniment of this attractive melodic piece which was composed and published in 1888. The solo horn part is also appended to the score. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Close
Added: 27th July, 2017 11:07 AM |
Views : 3379
An arrangement for guitar and flute of this attractive melodic piece which was composed and published in 1888. Erik Satie was a French composer and wh Show More...
An arrangement for guitar and flute of this attractive melodic piece which was composed and published in 1888. Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. There are chord diagrams to assists the accompanying guitar which has the sixth string tuned down to D. Close
Added: 27th July, 2017 11:07 AM |
Views : 3433
This arrangement for two guitars and string bass has chord diagrams to assist the accompanying guitarist. The realisation features an electric guitar. Show More...
This arrangement for two guitars and string bass has chord diagrams to assist the accompanying guitarist. The realisation features an electric guitar. 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. Satie's writings and works influenced many of the avant-garde movements established in Paris in the early 20th century. Close
Added: 27th July, 2017 11:07 AM |
Views : 3580
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
Added: 27th July, 2017 11:07 AM |
Views : 3834
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 subsequently orchestrated by Debussy. Satie's writings and works influenced many of the avant-garde movements established in Paris in the early 20th century. This resource has TAB and chord diagrams. Close
Added: 27th July, 2017 11:07 AM |
Views : 4152
Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Show More...
Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. His Gymnopedie No. 1 is an attractive melodic piece which was orchestrated by Debussy. Satie's writings and works influenced many of the avant-garde movements established in Paris in the early 20th century. Close
Added: 27th July, 2017 11:07 AM |
Views : 3883
Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. Show More...
Erik Satie was a French composer and whilst he was considered to be something of an eccentric composed some very appealing and atmospheric miniatures. His Gymnopedie No. 1 is an attractive melodic piece which was orchestrated by Debussy. Satie's writings and works influenced many of the avant-garde movements established in Paris in the early 20th century. Close
Added: 27th July, 2017 11:07 AM |
Views : 3610
