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Theme & 5 Variations on a Swiss Air arr. violin duet

This is an two part arrangement of Beethoven’s Theme and Variations on a Swiss Air WoO 64 for violin duet introducing players to the elements of Cl Show More...

This is an two part arrangement of Beethoven’s Theme and Variations on a Swiss Air WoO 64 for violin duet introducing players to the elements of Classical style and more particularly to Beethoven’s compositional approach . The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels to be found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations whilst variations 2,3 and 4 need to be played at a slightly slower tempo 120 quarter note bpm. Accompaniments are in place available for both violins enabling string players to practice their ensemble parts in preparation for a performance. In the accompaniments each variation is given a short tempo click of three beats to enable accurate tempi are played. The violin 2 part is an octave higher than originally intended. Playing within the same octave encourages good intonation (playing in tune) and improves listening skills. Close

Little Prelude in D arr. string trio (violin, viola & cello)

Improve as a string player with this trio arrangement of Bach’s Little Prelude BWV 936. Practice playing in a string trio with this arrangement of Show More...

Improve as a string player with this trio arrangement of Bach’s Little Prelude BWV 936. Practice playing in a string trio with this arrangement of J.S. Bach’s Little Prelude BWV 936 sounding in the key of D. #sheet music & accompaniments link: The arrangement is scored for violin, viola & cello playing pizzicato. The violin and viola should be played legato whilst the cello should play pizzicato. There are some octave transpositions in place enabling the instrument parts to be kept to the range of the specified instruments. Individual instrument parts are appended to the full score. Accompaniments are in place giving opportunity to the violin, viola & cello players practice as part of a trio ensemble. They playback at tempi of 66, 68, 70 and 72 quarter note or crotchet beats to the minute. Playing music in parts encourages listening and good intonation (playing in tune). Close

Polonaise in G minor arr. 2 violas

An arrangement for 2 violas of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays back at Show More...

An arrangement for 2 violas of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. There are a number of octave transpositions to keep to the instruments range. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. The composer of this movement has not been identified in the music score which is found in the Notebook for Anna Magdalena Bach. Baroque scores do tend to have minimal score details. Close

Bourrée arr. viola & cello

This particular bourrée shouldn’t be played too quickly and in this arrangement for viola and cello a tempo of around 60 half note (minim) beats to Show More...

This particular bourrée shouldn’t be played too quickly and in this arrangement for viola and cello a tempo of around 60 half note (minim) beats to the minute is suggested. This, like much of Bach’s music, is a very adaptable movement suited to being played by several different combinations of instruments. The music sounding in E minor originates from Bach’s Lute Suite BWV 996. The ornaments are played but the repeats are not in either the realisation or the accompaniments. A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. As in most of the movements that are found in a baroque suite it is composed in binary AB form. This movement is most familiar as a solo guitar movement although like much of Bach’s music it is readily adaptable to be played by other instrument combinations. Accompaniments are in place enabling both viola and cello players to practice as part of a duo in practice routines. There is a 2 bar count in sounded on a wood block. Close

Jesu Joy in 8 arr. 2 violas

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for 2 violas. There is a st Show More...

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for 2 violas. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 8/8 time and needs to be played with an awareness of the 3+3+2 pattern that underlies the rhythmic template for the movement. This pattern is a shape used in much popular music of the rock and roll era giving a contemporary feel to the music as well as providing a very good opportunity to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Accompaniments for viola 1 and viola 2 are in place playing at 98, 102 106, 110 and 114 quarter note (crotchet) beats to the minute. The sounding key is G major. Close

Jesu Joy in 8 arr. viola & cello

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged viola & cello. There is a s Show More...

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged viola & cello. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 8/8 time and needs to be played with an awareness of the 3+3+2 pattern that underlies the rhythmic template for the movement. This pattern is a shape used in much popular music of the rock and roll era giving a contemporary feel to the music as well as providing a very good opportunity to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Accompaniments are in place playing at 98, 102 106, 110 and 114 quarter note (crotchet) beats to the minute. The sounding key is G major. Close

Off To California arr. viola & cello

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

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep them fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged. The realisation of this two part plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet fee as heard in the realisation. The repeats are not played in the realisation and there is no ornamentation of the melodic line in this two part version. Folk music scores are generally presented with minimal score detail and understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Close

La Paloma arr. viola & pizzicato cello

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

MInuet in G BWV App. 116 arr. viola & cello

A work that features much imitation and found in the music collection known as the Anna Magdalena Notebook. Although often attributed to J.S. Bach the Show More...

A work that features much imitation and found in the music collection known as the Anna Magdalena Notebook. Although often attributed to J.S. Bach the composer of this work is unknown. Music in Bach’s time was often copied by hand and one can imagine how easy it was to lose the identity of the original composer particularly before music publishing was established. Baroque scores tend to have little score detail but this is a bright positive movement full of energy and intention. The work, intended to be played on a keyboard, in Bach’s own day, is very suited to being played by different combinations of instruments. Ornaments have been omitted in this arrangement Accompaniments are in place enabling both viola and cello players to enjoy ensemble practice as part of playing routines. Close

March in D arr. viola & cello

An arrangement for viola and cello of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the r Show More...

An arrangement for viola and cello of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the realisation and accompaniments are in place enabling both viola and cello players to enjoy duo playing as part of practice routines. Accompaniment tempos are 72, 76, 80 and 84 half note or minim beats to the minute. Repeats are not in place in the accompaniment tracks. Close

Jesu Joy in 8 arr. violin & cello

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

This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for violin & cello.. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 8/8 time and needs to be played with an awareness of the 3+3+2 pattern that underlies the rhythmic template for the movement. This pattern is a shape used in much popular music of the rock and roll era giving a contemporary feel to the music as well as providing a very good opportunity to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Accompaniments are in place playing at 98, 102, 106 and 110 quarter note (crotchet) beats to the minute. Close

Minuet in D minor arr. violin & viola

An arrangement of the Minuet in D minor BWV App. 132 for violin & viola of this beautiful melancholy movement from the Anna Magdalena Notebook. The pl Show More...

An arrangement of the Minuet in D minor BWV App. 132 for violin & viola of this beautiful melancholy movement from the Anna Magdalena Notebook. The playback tempo of the realisation is 108 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the violin and viola sounding whilst repeats are in place. The viola part is an octave higher than in the original keyboard version. Not all the composing contributions music in this collection have been correctly attributed since its publication date in 1725 but this was a collection containing music by both J. S. Bach and his contemporaries. Close

Minuet in D min arr. violin & cello

An arrangement of the Minuet in D minor BWV App. 132 for violin & cello of this beautiful melancholy movement from the Anna Magdalena Notebook. The pl Show More...

An arrangement of the Minuet in D minor BWV App. 132 for violin & cello of this beautiful melancholy movement from the Anna Magdalena Notebook. The playback tempo of the realisation is 108 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the violin and cello sounding whilst repeats are in place. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was a collection containing music by J. S. Bach and .his contemporaries. Close

Sinfonia 2 BWV 788 arr. string trio

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for string trio of violin, viola & cello. The realisation playback at 58 dotted quarter note or cro Show More...

J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for string trio of violin, viola & cello. The realisation playback at 58 dotted quarter note or crotchet beats to the minute. In this version ornaments have been omitted. Playing the C minor scale in all its forms natural, harmonic and melodic would be excellent preparation for playing this sinfonia. The voice leading in this sinfonia is not altogether straightforward and players will need to pay attention to the accidentals in the score possibly adding reminders if required. Conflicting accidentals often appear in different voices in the same bar. A sinfonia that features arpeggios and scale runs with the rhythmic shapes in the lines having a strong repetitive element. The note values given in Bach’s Sinfonias often give an indication of intended articulations that are intended. Players should be aiming for a singing legato in their playing. The movement needs to be played, in the first instance, with an awareness of the patterns of 3 in the 12/8 time signature. (4 x 3 to the bar). Accompaniments are in place playing at 56, 58, 60, 62 & 64 dotted quarter note (crotchet) beats per minute (bpm). They feature the viola and cello sounding voices 2 & 3 of Bach’s composition. There is a one bar click track sounding on the woodblock as an introduction. Rests have been indicated in the voices as they are in the keyboard version of the works Some of the rhythmic notation particularly with regards to the use of rests is ambiguous. Logic and rules do not universally apply. What tends to be in place is what is good for the eye. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills, good intonation , ensemble playing and particularly exploring the ranges of instruments. The Sinfonias are works conceived for three voices and feature compositional processes very much associated with Bach’s contrapuntal writing namely: repetition, inversion, imitation, augmentation, diminution, stretto. In these works the closely related keys of the dominant, sub-dominant, relative minor are explored The movement should not be played too quickly. The music editor’s advice is that players need to be clear in their intention as far as the articulation of the lines and the dynamics. Whilst a movement that needs to be played with control there also needs to be a lightness of intention in the playing approach. Baroque scores generally have minimal score detail in place. The movement end with a major chord in what is referred to as a Picardy third. PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close

Galop | Can-Can arr. string quintet

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

This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable melody. This is a genuine performance piece to be enjoyed by both instrumentalists and audiences alike. It is very evident that Jacques Offenbach had a real gift and sense of melody and fun in making music. Not necessarily favoured by the music critics of the time, much of his music has nevertheless remained in the repertoire. Nietzsche & Zola also commented on his operettas for those who want to discover more about the ambivalence of his status. String players will need to pay attention to the range of articulations and dynamics needed in a performance. Repeat signs are in place in the score whilst the realisation plays back at 120 quarter note (crotchet) beats in the introductory first section and 132 quarter (crotchet) note beats in the second. Effectively string quartet accompaniments are also in place enabling violin 1 players to enjoy an ensemble experience as part of their practice routines. There is a 4 bar click track at the beginning of each accompaniment sounding on the woodblock. If clicks are required during the silent sections please advise the PlentyMusic office and some additional backing tracks will be added. Repeats are in place and should be played to maintain the symmetry and shape of the piece. As unmistakenly music intended for dancing there is a regular phrase structure in the second section and repetition is a strong feature of the composing process. There is an opening 23 bar section marked Allegro succeeded by a faster section which has an A B C A A + Coda structure with a 2 bar link between sections B & C. “Le Galop” is often referred to as the “Can-Can” and was first performed in 1858 causing a bit of a stir because of its risqué nature though more in the visual rather than musical sense. Le Galop is from Act 2 of Offenbach’s operetta “Orpheus in the Underworld.” The can-can dance become associated with the Parisian cabarets of the Moulin Rouge and Folies Bergère. The easily remembered tune became associated with the high kicking female can-can dancers of the day. Jacques Offenbach (1819 – 1880) whilst German born is considered to be a French composer known for the lighter side of opera referred to as operetta. Many of his works are still staged and he was an important influence on later composers of the genre. In his early days he earned his living as a cellist & conductor before producing his first full length operetta “Orpheus in the Underworld” in 1858. His final work “The Tales of Hoffmann” was incomplete at the time of his death. Close

España Cañi | Spanish Gypsy Dance | Paso-Doble arr. cello solo & string quartet

España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina arranged for cello & string quartet. One of the most familiar pieces of the Sp Show More...

España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina arranged for cello & string quartet. One of the most familiar pieces of the Spanish repertoire this arrangement from PlentyMusic is now available to download. The PlentyMusic sheet music video and realisation plays back at a tempo of 108 quarter note beats per minute. The tempo in the arrangement is constant. Individual instrument parts are appended to the full sheet music score. Accompaniments are in place featuring the string quartet are available as mp3 downloads playing back at 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute. There are many arrangements of this music available from the PlentyMusic sheet music library combining many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using professionally prepared resources. The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. In this quintet version the introduction has been shortened. Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the elements of the Spanish idiom and style. The second section has an appealing syncopated melody with some lightening of the musical texture. The solo line played needs to be played with confidence and accuracy. It is also an excellent test as an ensemble piece requiring good communication between the players. The solo part is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach. The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Martellato means strongly accented. Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound. This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed! A great movement for both the player and the listener for its dramatic and musical qualities. The composition dates from 1923 and was recorded as early as 1926. Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone). The cadences in Spanish music have a characteristic sound. The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism. The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. The conception of the dance is a re-imagining of the movements of the Spanish matador in the bull ring. Close

Serenata Española (Impressions of Spain) arr. string ensemble /string orchestra

Joaquin Malats Serenata Española from his Impressions of Spain arr. string orchestra or string ensemble comprising violins 1, violins 2, violas, cel Show More...

Joaquin Malats Serenata Española from his Impressions of Spain arr. string orchestra or string ensemble comprising violins 1, violins 2, violas, celli & double bass. Individual string parts are appended to the full sheet music score in the pdf download. #sheetmusic download link: coming soon Use your free credit to download the score and parts. A sunny piece that features many characteristics typical of Spanish music. There are over 20 pages of music in the download! The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as a trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music by Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests images of the country. There is much characteristic figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. There is opportunity to explore articulations in a performance with staccato notes used particularly in the accompaniment. Short notes imitating the sound of the guitar are quite appropriate in this piece. Chords can be rolled again to imitate the sound of playing chords on the guitar. The music editor has not indicated staccato notes in the music score mainly because it is challenging to be consistent in such matters especially with music that does benefit from spontaneity. Listen to performances and use your ears is the advice. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement. Where appropriate there are some octave transpositions in the bassoon part are in place to keep to the instruments best tonal range. The element of contrast is also to the fore with legato & staccato, loud and quiet playing, speeding up and slowing down. Close

Invention 2 arr. violin & cello

Improve music practice routines playing J.S. Bach’s Invention 2 BWV 773 arr. violin & cello duo in the key of C minor. The Bach Inventions performe Show More...

Improve music practice routines playing J.S. Bach’s Invention 2 BWV 773 arr. violin & cello duo in the key of C minor. The Bach Inventions performed as duos offer excellent practice & performance opportunities. The realisation video plays back at 50bpm. This is a melodic two part invention with ornaments in place that needs to be played with feeling and sensitivity. pdf sheet music download and play-a-long mp3 accompaniments are available to download from PlentyMusic. Playing the Bach Inventions as part of a duo encourages good intonation, that is, playing in tune, in duet playing. Legato playing is required when performing this invention in what is a slow tempo and melancholy movement. This is music that requires both method and determination in the way that it is approached. Bach composed much music as a teacher with the performing and teaching context often relating to his own children. Four of his sons became important composers relevant in music history because they link the baroque era with the classical. The inventions offer excellent opportunities to instrumentalists to improve their ensemble playing skill set and develop an understanding of baroque compositional processes. The inventions are uncompromising in the demands they place on performers requiring accuracy technique and concentrated listening. Playing the relevant C minor scale in both its melodic and harmonic forms would be excellent preparation for playing this movement. In the sheet music score the ornaments are both indicated and sound in the realisation. Accompaniments are in place allowing string players to participate in play-a-long ensemble activities as part of music practice routines. The violin sounds on one side of the stereo channel and the cello on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 58, 60 & 62 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. They are available with and without ornaments in place In the keyboard video score, which string players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation representing exactly what is being played. Understand that ornaments can be interpreted differently and that performance practice is both evolving and often reviewed. How ornaments are played at cadences in particular is a fascinating subject in the baroque era. The combination of structure improvisation The best advice is to listen to the performances and learn to discriminate as a performer between good practice and that which is plainly inappropriate and bluntly bad practice. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system established in Bach’s own time. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution and other processes are evident in Bach’s inventions as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent ensemble movements. Close

Invention 9 arr. arr. cello duo

J. S. Bach’s Invention 9 BWV 780 arranged for cello duo in the key of F minor is a challenging invention to play particularly from the note reading Show More...

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

Invention 9 arr. arr. violin & viola duo

Invention 9 BWV 780 arranged for violin & viola in the key of F minor is a challenging invention to play particularly from the note reading and voice Show More...

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

Invention 9 arr. arr. violin & cello duo

Invention 9 BWV 780 arranged for violin & cello in the key of F minor is a challenging invention to play particularly from the note reading and voice Show More...

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

Invention 10 arr. violin & viola duo

J.S.Bach’s Invention 10 BWV 781 in an arrangement for violin & viola in the original key of G is a challenging invention to play simply from how t Show More...

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

Invention 10 arr. violin & cello

J.S.Bach’s Invention 10 BWV 781 in an arrangement for violin & cello in the original key of G is a challenging invention to play simply from how th Show More...

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

Invention 11 BWV 782 arr. violin & cello

J .S. Bach’s Invention 11 BWV 782 is a work exploring the scale of G minor. The chromatic element is strong and the resulting accidentals make this Show More...

J .S. Bach’s Invention 11 BWV 782 is a work exploring the scale of G minor. The chromatic element is strong and the resulting accidentals make this a challenging score to both read and store in the musical mind. The best advice is to play the G minor scale in both forms slowly until the sounds of each is familiar. The playback score in the arrangement for violin and cello has a tempo of 60 quarter note or crotchet beats to the minute. It is a movement that can be played both at slower and faster tempos than those suggested. The Inventions are concentrated demanding movements to play in an ensemble context but excellent for encouraging listening skills, good intonation and accurate playing. The movement is probably best learnt without the ornaments in place in the first instance. Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing does need to be avoided. The music editor has avoided ornaments occurring in both voices at the same time. Players may well do their own research as far as determining the ornaments to be played in a performance. The music editor’s suggestions are based on current performance practice. Ornaments are applied consistently although there is scope for players to make some additions particularly at important cadence points in movements where the option of more notes in the cadential trill can be explored. This is particularly the case in music played at relative slow tempi. In the video score the ornaments have been written out as they sound in the realisation to represent exactly what is being played. This is a useful particularly for those interpreting ornaments for the first time. Note that there are two versions of the video score to view on YouTube. Accompaniments are in place allowing string players to participate in ensemble activities as part of practice routines. The violin sounds on one side of the stereo channel and the cello on the other. The accompaniment tracks play back at 58, 60, 62, 64, 66 and 68 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. One set of accompaniments has ornaments in place and the other doesn’t allowing players some flexibility. This invention provides an excellent opportunity for players to become familiar with the scale of G minor in both its harmonic and melodic minor forms. Instrumentalists should spend time listening to performances of the work by a range of musical instruments to understanding playing approaches. Players will possibly need to edit their scores with reminders about accidentals within the bar. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Playing levels will perhaps need to be reviewed when different instrument combinations are involved. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. Those learning how to use music notation software and improve their listening skills will find this an excellent study to copy simply because of the many accidentals that require attention from the listening and notation point of view. Accurate notation will also suggest a musical ear is present! Close

Invention No. 13 BWV 784 arr. violin & cello

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

J.S.Bach’s Invention 13 in the key of A minor is a movement with some quite delightful shapes to play particularly chord shapes including minor, major, dominant 7th & diminished 7th also in their different positions (root, first & second inversion…) This is an excellent ensemble piece encouraging players to listen to each other. In bars 21/22 there are some octave transpositions in the violin part. Ornaments are not featured in this movement whilst the realisation plays back at 68 quarter note or crotchet beats to the minute. Accompaniments are in place allowing violin and cello players to participate in ensemble activities as part of their practice routines. The violin sounds on one side of the stereo channel and the cello on the other. The accompaniment tracks play back at 58, 60, 62, 64, 66, 68, 70 and 72 quarter note (crotchet) beats per minute. This reflects the fact that the invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. As in all the inventions it is a requirement to play accurate note values. Ends of phrases are deserving of particular attention. Legato playing is suggested in the first instance although string players can offer their own playing and performance approaches which in many ways is the invitation offered in this and many other Bach music collections. There is no perfectly correct way to play this music and there is the added challenge of being able to re-visit and play the music again. Time spent listening to this work on streaming media will be invaluable to players wishing to understand the different approaches that players have when performing this movement. The principle behind J.S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s Two Part Inventions as in most music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. As concentrated and concise movements the 15 Inventions played in an ensemble context present excellent challenges and there is simply not much other music that can better prepare players for this type of music activity. An invention suited to being played by a wide range of instruments possibly with a combination of instruments belonging to different instrument families – a mix and match approach is invited. Close

Invention 6 BWV 777 arr. violin & cello

J.S.Bach’s Invention 6 BWV 777 arr. violin & cello The realisation plays back at 28 bpm to the minute. Accompaniments are in place allowing string p Show More...

J.S.Bach’s Invention 6 BWV 777 arr. violin & cello The realisation plays back at 28 bpm to the minute. Accompaniments are in place allowing string players to participate in ensemble activities as part of practice routines. This is an excellent duo piece encouraging good intonation accuracy in playing and the development of a sense of pulse so essential in ensemble playing. Accompaniments are in place allowing both violinists and cellists to participate in ensemble activities as part of their practice routines. The violin sounds on one side of the stereo channel and cello on the other. There is a four bar count in sounding on the wood blocks. A legato approach to playing is demostrated in the sheet music video but string players may well chose to play pizzicato for this invention. It is a movement that features figuration and an exploration of shapes rather than ornamentation. The two voices are frequently moving in contrary motion. This invention sounds so easy on the ear but it is a challenging to read because of the accidentals. The repeats whilst indicated in the sheet music score are not played in the mp3 realisation or the accompaniments The reading of the notes and accidentals requires attention especially in the second section and note values need to played accurately. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Two Part Inventions and 15 Three Part Sinfonias and many of them provide excellent opportunities for duo and trio playing. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. Close

Invention No. 1 BWV 772 arr. violin & cello

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

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

Sinfonia 8 BWV 794 arr. string trio

Bach J.S. Sinfonia 8 BWV 794 arranged for string trio of violin, viola and cello. The Sinfonia arrangements from PlentyMusic are excellent movements t Show More...

Bach J.S. Sinfonia 8 BWV 794 arranged for string trio of violin, viola and cello. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. Download sheet music and accompaniments from PlentyMusic. The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration and a movement that can be played at a range of tempi. String parts fo=r violin, viola and cello are appended to the full sheet music score. In this arrangement the violin 1 plays the higher voice 1, the viola plays the middle voice 2 and the cello voice 3. The trio realisation plays back at 76 quarter note or crotchet beats to the minute Ornaments have been omitted in the music scores although those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the voices The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times. The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both in playing and listening contexts. Accompaniments playing at 72, 86, 80 and 84 quarter note or crotchet beats to the minute and featuring the viola and cello are available as mp3 downloads from PlentyMusic. They are recorded at 256kbps. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences occurring in bars 7, 15 and 23. Close

Serenade arr. string orchestra

Serenade by R. Hoffstetter is a movement from a familiar classical string quartet. This is an arrangement for string orchestra comprising violins 1, v Show More...

Serenade by R. Hoffstetter is a movement from a familiar classical string quartet. This is an arrangement for string orchestra comprising violins 1, violin 2 violas, cellos & double basses in the key of C with the PlentyMusic sheet music realisation plays back at 90 quarter note (crotchet) beats to the minute. Improve personal music practice by downloading this sheet music score and accompaniments from PlentyMusic. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato with a pizzicato strings accompaniment. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested whilst the score is marked Andante cantabile. Individual instrument parts are appended to the full score which is available as a pdf download from the website. The repeats do not play in the realisation or video score although they are in place on the sheet music pdf download. An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played while the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. The ornaments, acciaccaturas (crushed notes) which are always a confusing element in music performance are probably best omitted in the early stages of playing the movement. This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. There is also a strong repetitive element that requires the music to played with both simplicity and consistency. The melody can be played with some differences to the phrasing and articulations indicated and suggested in the score. The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity. Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close

Serenade arr. string quartet (Andante Cantabile)

Serenade by R. Hoffstetter is a movement from a popular classical string quartet. The movement marked Andante cantabile is in the key of C whilst the Show More...

Serenade by R. Hoffstetter is a movement from a popular classical string quartet. The movement marked Andante cantabile is in the key of C whilst the PlentyMusic sheet music realisation plays back at 90 quarter note (crotchet) beats to the minute. Improve music practice strategies by downloading this sheet music score and accompaniments from PlentyMusic. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato with a pizzicato strings accompaniment. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested while individual instrument parts are appended to the full score available as a pdf download from the website. The repeats which are not marked in the video score do not play in the realisation or video score. mp3 string accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments feature the pizzicato strings of violin 2, viola and cello and give opportunity to the violin 1 player to practice in an ensemble context and play as part of a string quartet. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments to establish the tempo. An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. In the video score all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) whi are probably best omitted in the early stages of playing the movement. This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency. The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity. Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. This score was added to the website in 2023. Close

Lullaby (Weigenlied) Opus 49 No.4 arr. string quartet | intermediate level | D major

Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for string quartet comprising 2 violins, Show More...

Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for string quartet comprising 2 violins, viola and cello sounding in the key D with the PlentyMusic realisation of the sheet music score playing back at 76 quarter note (crotchet) beats to the minute. The free sheet music score available from PlentyMusic has individual parts appended to the full score. String players can view and hear the video sheet music score on our YouTube channel. One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment. Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the website. The function of these accompaniments is to provide an ensemble playing experience for violin players in a home studio situation. The violin 2 and viola parts are quite challenging to play and so an introductory 2 bar wood block introduction can be heard on the accompaniment mp3. The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time. There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute. This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the violin 1 player to memorise. This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Formally the pattern of the music can be described as binary represented as ABAB The ornaments have been incorporated into the sheet music in the notation to add clarity of intention. Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this time in music history. Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music. Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances. For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience. Re-invention is an important aspect of music making and PlentyMusic are keen and willing to both listen and publish work in this category. Close

Sinfonia 11 BWV 797 arr. string trio of violin, viola & cello

Bach J.S. Sinfonia 11 BWV 797 arranged for string trio of violin, viola & cello. The Sinfonia arrangements from PlentyMusic are excellent movements to Show More...

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

Sinfonia 4 BWV 790 arr. string trio of violin, viola & cello

J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790 Show More...

J.S.Bach’s Sinfonias are excellent movements to improve music practice routines. An arrangement from PlentyMusic of J.S Bach’s Sinfonia 4 (BWV 790) for string trio scored for violin, viola & cello. As there is a strong chromatic element in the writing careful attentions needs to be paid to the reading of the notes and particularly the duration of the notes in this melancholy movement. The string trio realisation plays back at 42 quarter note or crotchet beats to the minute. This is an excellent ensemble piece for developing good intonation (playing in tune) in group music making contexts. No ornaments are indicated in this arrangement. Those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times. The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context. Accompaniments that feature the viola and cello are available playing at 40, 42, 44 and 46 quarter note or crotchet beats to the minute are available as mp3 downloads. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Close

Sinfonia 5 BWV 791 arr. string trio of violin, viola & cello

An arrangement of J.S.Bach’s Sinfonia 5 BWV 791 for string trio of violin, viola and cello This trio version realisations plays back at 56 quarter Show More...

An arrangement of J.S.Bach’s Sinfonia 5 BWV 791 for string trio of violin, viola and cello This trio version realisations plays back at 56 quarter or crotchet beats to the minute. The sinfonias are conceived in three parts or voices and are excellent ensemble pieces encouraging players to listen to each other. The cellist plays pizzicato in this arrangement. The movement should not be played too quickly. The music editor’s advice is that all players need to have the clearest of intentions regarding the articulation of the lines and the range of dynamics. Whilst movements need to be played with control there also needs to be a lightness in the playing approach. The movement needs to be played, in the first instance, with an awareness of the quarter note or crotchet pulse. Ornaments have not been marked in the sheet music score but they can be added by players who are familiar with the performance practice of the time. The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for three instruments The Sinfonias are works conceived for three voices and feature compositional processes very much associated with contrapuntal writing of the baroque era namely: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both a playing and listening context. Accompaniments are available featuring the viola and cello providing opportunity for violin players to develop their ensemble playing in a home practice situation. They play at 56, 60, 64 and 68 quarter or crotchet beat notes to the minute They are recorded at 256kbps and a two bar introduction gives the pulse Please feedback your experience both positive and negative to PlentyMusic. Close

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

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

An intermediate level arrangement for string quintet of a movement from a Mendelssohn organ sonata. Scored for 2 violins, 2 violas and cello, individual parts for instrumentalists are appended to the full score available as a pdf download from PlentyMusic. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially a chorale or hymn much in keeping with the chorale of J. S. Bach although Mendelssohn’s harmonic language is chromatic rather than diatonic. There is opportunity to slow down and pause at the ends of phrases although there is only one such marking in the sheet music score. There are some octave transpositions in the flute and oboe parts. Playing chorale arrangements like this are excellent for developing ensemble playing and good intonation. A generally quiet movement, string players should be aiming for a legato in their playing. The realisation plays back at 76 quarter note (crotchet) beats to the minute. mp3 accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute enabling violin players to participate in ensemble activities as part of their practice routines. Close

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

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

This arrangement for string quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for two violins, viola and cello. Instrumental parts for individual instruments are appended to the full score. Accompaniments are also available allowing the violin 1 player to enjoy ensemble practice in context. There is a one bar eighth note (quaver) click track before the violin 2, viola and cello start to sound. They play back at 80, 84 and 88 eighth (quaver) notes to the minute. It is a late 19th work which can be understood to be updated version of a Bach chorale harmonisation. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. The cello plays pizzicato except at the end of phrases. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. String players should play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts. Cantilena is an Italian/Latin word suggesting both lullaby and song. A movement that is intended to be played quietly in a sustained approach. The melody needs to be played with a legato whilst the bass line is played with a detached or staccato touch. This is an excellent movement for developing good intonation in ensemble playing. The melody explores several rhythmic motifs often featuring tied notes. Much of the writing features off-beat rhythms related to the resolving of the dissonances in the inner parts. The influence of the Bach 4 part chorale harmonisation is paramount together with the chromatic harmony that can be readily identified in the music of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniment. Close

Siciliana from String Trio Opus 17 No.1

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

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

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

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

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for string quartet of violin 1, violin 2, viola and cello. Individual parts are appended to the full score in the pdf download. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 47|94|47 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music. Close

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

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

Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for string quartet comprising violin 1, violin 2, viola and cello Instrument parts are attached to the full score which is available from PlentyMusic as a pdf download. If circumstances arise then there the music could be performed by a string ensemble with each part played by more than one instrument. The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was subsequently revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in a bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is an option available for the top line players in this instrumental arrangement. The music editor suggests that it appropriate to keep to the style of the period in the first instance but it is also a piece in which the stylistic element can be explored. Those who enjoy improvising can always record their work can send it as an mp3 to the PlentyMusic office for feedback. The score has been notated in 3|2 time keeping to the conventions of the original notation but could quite readily be notated in 3|4 time. The trill in bar has been written out in the video score which is available to view on the PlentyMusic YouTube channel. This is music that is very appropriate music for a solemn processional in a social context context. It is usual to present baroque scores with minimal score detail although in this score there is some indication of appropriate dynamics. The arrangement is in the original key of F major although the tempo for the quartet is more Larghetto than Largo which was the tempo indication in the opera. The music in the video score plays back at a tempo of 66 half note or minim beats to the minute. The music editor observes that instrumental arrangements of a vocal piece are invariably played at a faster tempo. This is an opportunity for an improver level musician to be playing what is a great piece of music. It is what the music editor identifies as being a potential “stepping stone” for many instrument players. There is an interesting story as to the origins of the sarabande rhythm for those who enjoy researching the history of forms and rhythmic patterns particularly those associated with dances. Accompaniments are in place allowing each of the 4 instruments parts to be rehearsed in the context of playing in an ensemble. Close

Invitación (Invitation) arr. string quartet

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

Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for string quartet is in the key of Am and features the Cuban habanera pattern. The arrangement is scored for the standard string quartet of 2 violins, viola and cello whilst Individual parts for players are appended to the full music score in the pdf download. It is an excellent piece for ensemble players to help their tuning and intonation by listening to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play absolutely in tune. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the lines to keep to the best and most appropriate range of the instruments. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 64 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly with regard to tempo and the use of rubato (speeding up and slowing down) and does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Should some re-scoring be required please advise the PlentyMusic Office. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close

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

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

Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervantes is a movement that explores the habanera pattern. The string quartet arrangement enables players to explore and develop tone, articulation and dynamic range in their ensembleplaying. The arrangement is scored for 2 violins, viola and violoncello. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84 bpm. The sheet music scores also has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to A minor. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. Close

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

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

Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic for string sextet of 3 violins, 2 violas, and cello is an intermediate level arrangement and available as a free score. It features many of the rhythmic patterns characteristic of Cuban music. It is an excellent movement for encouraging rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. If PlentyMusic users require some re-scoring of the movement please advise the PlentyMusic Office of your requirements. Instrumental parts are appended to the full music score which can be downloaded as a pdf. Close

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

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

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

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

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

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

Shenandoah arr. string quartet

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

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for a string quartet of 2 violins, viola and violoncello sounding in the key of D. The playback tempo is 84 quarter note beats to the minute and individual parts are appended to the full score. The violin 1 has the option of playing the repeat at the octave. Close

Pieds-en-l’air arr string group

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

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

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

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

In this arrangement for string quartet the specified instruments are 2 violins, viola, tenor and violoncello. The score is formatted as a one document pdf file with Individual parts for the four string instruments appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D it plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly. Close

Off To California arr. violin & cello

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

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to keep them fit. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played and there is no ornamentation of the melodic line in this two part version. The violinist may want to play the repeats at the octave and the playback sound of the cello is a pizzicato sound which the player can of course change especially if repeats are played. Folk music scores are generally presented with minimal score detail as is the case in this score. Understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint-hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Accompaniments are in place enabling both the violinist and cellist to practice as part of an ensemble. they play at 108, 120 and 132 bpm. There is two bar click track introduction before the music starts to play. Close

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

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

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

Minuet in F K.2 arr. violin & cello

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

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

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

In this arrangement for violin, viola and cello the sounding key is G. A tempo of 132 quarter note (crotchet) beats to the minute is recommended. I Show More...

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

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

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

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

Celibrated Minuet arr. viola & cello

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

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

Celibrated Minuet arr. violin & viola

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

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

Celibrated Minuet arr. violin & cello

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

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

Rondo from Sonatina in G arr. violin viola & cello

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

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

Rondo (Sonatina) arr. string trio

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

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

Romanze arr. violin, viola & violoncello

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

This is a charming piece of music in 6/8 time and taken from one of Beethoven's Sonatinas for piano. In this arrangement the violin plays the melody whilst the viola accompanies playing broken chords with the cello providing an outline bass line. A tempo of 66 dotted quarter beats to the minute is recommended and the music sounds in the key of G. This is a very good example of music described as drawing room or salon music. Individual parts are attached to the full score and the repeats are not played in the realisation or accompaniments. Close

Vivace (Sonatina) arr. violin & viola

Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishin 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 violin and viola is from one of his Opus 36 sonatinas for piano. This particular piece has been selected to encourage fast playing and the realisation has a tempo of 68 dotted quarter note (crotchet) beats to the minute. Vivace is Italian for lively. Violin and viola accompaniments are alsi in place. Close

Vivace (Sonatina) violin & cello

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

Serenade arr. string trio of violin, viola & cello

Serenade by R. Hoffstetter is a popular movement from a classical string quartet. This is an arrangement for string trio comprising violin, viola and Show More...

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

Theme & Variations arr. viola & cello

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

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

Theme & 5 Variations on a Swiss Air arr. violin & cello

This is an two part arrangement of Beethoven’s Theme and Variations on a Swiss Air WoO 64 for violin and cello introducing players to the elements Show More...

This is an two part arrangement of Beethoven’s Theme and Variations on a Swiss Air WoO 64 for violin and cello introducing players to the elements of Classical style and more particularly to Beethoven’s compositional approach . The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels to be found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations whilst variations 2 & 3 need to be played at a slightly slower tempo 120 quarter note bpm. Accompaniments are in place available for both violin and cello enabling string players to practice their ensemble parts in preparation for a performance. In the accompaniments each variation is given a short tempo click of three beats to enable accurate tempi are played. There are some octave transpositions of the cello part to keep to convenient ranges for each of the instruments. This is an 2026 update to the original score. Close

The Good Time’s Rag arr. violin & violoncello

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

El Choclo arr. violin & cello

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

La Paloma arr. violin & cello in D

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

La Paloma arr. two violins & cello

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

La Paloma arr. violin, viola & cello

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

Los Tres Golpes arr. violin, viola & 2 celli

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

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

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

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

Prelude in D minor BWV 926 arr. violin & violoncello

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

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

Jesu, Joy arr. violin & violoncello

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

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

Minuet in B minor arr violin and cello

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

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

Invention 8 arr violin & cello

J.S.Bach’s Invention 8 BWV 779 arranged for violin and cello. One of the most popular of the two part inventions with scale runs and chord shapes to Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for violin and cello. One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has individual parts appended to the full score. Accompaniments are also in place. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for string players to play to improve technique The realisation plays back at 96 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. String players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Music cannot be played quickly until it can be played slowly. Ornaments are not generally featured in this movement whilst the realisation plays back at 96 quarter note or crotchet beats to the minute. Accompaniments are in place allowing violin and viola players to participate in ensemble activities as part of practice routines. The violin sounds on one side of the stereo channel and the viola on the other. The accompaniment tracks play back at, 84, 88, 92, 96, 100 and 104 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. This score was updated in 2023. Close

Invention 8 arr. violin & viola

J.S.Bach’s Invention 8 BWV 779 arranged for violin and viola. One of the most popular of the two part inventions with scale runs and chord shapes to Show More...

J.S.Bach’s Invention 8 BWV 779 arranged for violin and viola. One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has pindividual parts appended to the full score. Accompaniments are also in place. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for guitarists to play to improve technique. There are some octave transpositions in the viola part to keep to the range of the instrument. The realisation plays back at 96 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. String players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Music cannot be played quickly until it can be played slowly. Ornaments are not generally featured in this movement whilst the realisation plays back at 96 quarter note or crotchet beats to the minute. Accompaniments are in place allowing violin and viola players to participate in ensemble activities as part of practice routines. The violin sounds on one side of the stereo channel and the viola on the other. The accompaniment tracks play back at, 84, 88, 92, 96, 100 and 104 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. Close

Bourrée in Em arr. violin & cello

Arranged for violin and cello this bourrée shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is sugges Show More...

Arranged for violin and cello this bourrée shouldn’t be played too quickly and a tempo of around 60 half note (minim) beats to the minute is suggested. The music in E minor originates from Bach’s Lute Suite No.1 BWV 996. The musical lines are of equal performance and technical difficulty and make it an ideal ensemble piece for a violin and cello duet. A bourrée is a dance often found in the baroque suite having two half note (minim) beats to the bar – it has a moderate to fast tempo and begins on the last quarter note of the bar. Ornaments are in place and sound on the playback score. How they are to be played is shown on ossia staves in the music score. Accompaniments are in place sounding at 58, 60 and 62 half note or minim beats to the minute featuring both the violin and cello. Repeats are not in place in these accompaniments or in the realisation but should be considered as an option in performance. Close

Invention 4 BWV 775 arr. violin & cello

Invention 4 BWV 775 arranged for violin and cello the key of D minor is an appealing work featuring an opening motif or melodic shape that combines a Show More...

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

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

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

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

Invention No.14 arr violin & viola

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

J.S. Bach’s Invention 14 BWV 785 arranged for violin and viola duo in the original key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. Players need to have a vision and understanding of the phrasing needed before playing this movement. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 56 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. String players may well want to explore octave transpositions in those bars where the range of the instrument becomes a challenge - Bar 16 of the viola part for example. Please advise the Pln Accompaniments are in place allowing electric guitar and bass guitar players to participate in ensemble activities as part of practice routines. The violin sounds on one side of the stereo channel and the viola on the other. The accompaniment tracks play back at 52, 54, 59, 61 and 63 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. This score was reviewed and updated in 2023. Close

Invention No.14 arr. violin & cello

J.S. Bach’s Invention 14 BWV 785 arranged violin and cello in its original key of Bb is a rhythmical work and a movement in which figuration is a su Show More...

J.S. Bach’s Invention 14 BWV 785 arranged violin and cello in its original key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. Ornaments are omitted in this movement but are replaced by challenging and rhythmic figuration. Players need to have a vision and understanding of the phrasing needed before playing this movement. Bach’s music is from the baroque era in music history and presents the added challenge that there is generally minimal score detail in place in sheet music scores. What is important is to play the note values as written and acknowledge rests notated in the score. The realisation plays back at 58 quarter note or crotchet beats to the minute. The music editor suggests playing the movement with an awareness of an eighth note or quaver pulse. An 8/8 time signature would in many ways be very appropriate for this movement. Accompaniments are in place allowing violin and cello guitar players to participate in ensemble activities as part of practice routines. The violin sounds on one side of the stereo channel and the cello on the other. The accompaniment tracks play back at 52, 54, 58, 60 and 62 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are generally similar approaches to playing this invention although instrumentalists should spend time listening to performances of the work by a range of musical instruments and instrument combinations on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. This is a 2023 update to the previous score. Close

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

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

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

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

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

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

Polonaise in G minor arr for violin and cello

An arrangement for violin & cello of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays b Show More...

An arrangement for violin & cello of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays back at a tempo of 110 quarter note (crotchet) beats to the minute. The repeats are not played in either the realisation or the accompaniments. This concentrated movement is suited to being played by several different instrument combinations. The polonaise has its origins as a Polish dance in three time. Accompaniments are in place playing at 106, 110 and 114 quarter note (crotchet) beats to the minute. There is a two bar count in sounded on a two tone wood block. The composer of this movement has not been identified in the music score which is found in the Notebook for Anna Magdalena Bach. The score and realisation were upgraded and accompaniments added in December 2025. Close

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

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

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

March in D arr. violin and cello

An arrangement for violin and cello of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the Show More...

An arrangement for violin and cello of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the realisation and accompaniments are in place enabling both violin and cello players to enjoy duo playing as part of practice routines. Accompaniment tempos are 72, 76, 80 and 84 half note or minim beats to the minute. Close

Minuet in G arr for violin and cello

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

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

Minuet in D minor arr. violin & cello

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

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

Musette in D BWV App.126 arr. violin & cello

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

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

Minuet in G arr. for violin and cello

An arrangement of this familiar movement for violin and cello.