This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for clarinet in Bb and bass 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 clarinet in Bb and bass clarinet. 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 F major. Close
An arrangement of the Minuet in D minor BWV App. 132 for 2 clarinet in Bb from the Anna Magdalena Notebook. The playback tempo of the realisation is 1 Show More...
An arrangement of the Minuet in D minor BWV App. 132 for 2 clarinet in Bb 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 clarinet in B flat 1 and clarinet in Bb 2 parts sounding and repeats are played. The clarinet in Bb 2 part sounds an octave higher than originally intended. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was an anthology containing music by J. S. Bach and several of his contemporaries. Close
An arrangement of the Minuet in D minor BWV App.132 for flute and bass clarinet from the Anna Magdalena Notebook. Not all the composing contributions Show More...
An arrangement of the Minuet in D minor BWV App.132 for flute and bass clarinet from the Anna Magdalena Notebook. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was a collection containing music by J. S. Bach and several of his contemporaries. 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 flute and bass clarinet sounding whilst repeats are played. Close
An arrangement of the Minuet in D minor BWV App. 132 for clarinet in Bb and bass clarinet from the Anna Magdalena Notebook. Not all the composing cont Show More...
An arrangement of the Minuet in D minor BWV App. 132 for clarinet in Bb and bass clarinet from the Anna Magdalena Notebook. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was a collection containing music by J. S. Bach and several of his contemporaries. 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 clarinet in B flat and bass clarinet sounding and repeats are played. Close
An arrangement for flute and bassoon 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 flute and bassoon 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 the flautist and bassoonist to enjoy duo playing as part of practice routines. Accompaniment tempos are 72, 76, 80 and 84 half note or minim beats to the minute and there is a 4 bar count in sounded on the wood block. Close
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for double reed wind quartet compri Show More...
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for double reed wind quartet comprising 2 oboe’s, English horn and bassoon. Instrument parts are attached to the full score which is available from PlentyMusic as a pdf download. 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 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 or remembrance. 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 realisation 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. Close
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for saxophone trio of soprano, alto and tenor saxophones. The realisation playback at 58 dotted quar Show More...
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for saxophone trio of soprano, alto and tenor saxophones. The realisation playback at 58 dotted quarter note or crotchet beats to the minute. In this version ornaments have been omitted. Playing the a 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 alto and tenor saxophones 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
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for 2 clarinets in B flat & bass clarinet. If an Eb clarinet is available this can be used as a subst Show More...
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for 2 clarinets in B flat & bass clarinet. If an Eb clarinet is available this can be used as a substitute for the clarinet in Bb 1. All four parts are available in the pdf download. The realisation playback at 58 dotted quarter note or crotchet beats to the minute. In the realisation it is the sounds of 2 clarinets in Bb and bass clarinet that feature. The clarinet in Eb substitutes for the clarinet in Bb 1 if available. Bass clarinettists may want to consider some octave transpositions to avoid the low notes of this instruments register. In this version ornaments have been omitted. Playing the relevant minor scale in all its forms natural, harmonic and melodic would be excellent preparation for playing this sinfonia. 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 clarinet in Bb 2 and bass clarinet 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 and ensemble playing. 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. PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close
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. Wind Quintet 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. Accompaniments are also in place enabling flautists 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. There are additional clicks in the opening section to help the development of ensemble playing. 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
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. Clarinettists 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. Clarinet accompaniments are also in place enabling clarinettists to enjoy an ensemble experience as part of practice routines. There is a 4 bar click track at the beginning of each accompaniment sounding on the woodblock. If a clicks are required during the silent sections please advise the PlentyMusic office and these 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 by Pascual Marquina Narro arranged for saxophone quintet comprising soprano, alto, 2 tenor & bar Show More...
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for saxophone quintet comprising soprano, alto, 2 tenor & baritone saxophones. 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 saxophone quintet minus the soprano saxophone & are available as mp3 downloads playing back at 100, 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 engraved resources. The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. 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
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for wind quintet comprising flute, oboe, clarinet in Bb, French Show More...
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina Narro arranged for wind quintet comprising flute, oboe, clarinet in Bb, French horn & bassoon. 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 oboe, clarinet in Bb, French horn & bassoon 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. 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
Joaquin Malats Serenata Española from his Impressions of Spain arr. clarinet sextet comprising clarinet in Eb or a clarinet in Bb playing the melody Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. clarinet sextet comprising clarinet in Eb or a clarinet in Bb playing the melody line , 3 additional clarinets in Bb & 2 bass clarinets Individual instrument parts are appended to the full sheet music score in the pdf download A sunny piece that features many characteristics typical of Spanish music. Individual instrument parts are appended to the full score available as a pdf download. Accompaniments are in place enabling the clarinet in Eb or clarinet in Bb 1 player to practice and play as part of an ensemble. They play at 104, 108,112, 116 & 120 bpm. There is a 4 bar click track to prepare players for this ensemble experience. In this arrangement the long trill in the clarinet in Eb or clarinet in Bb 1 part should be considered as an option and probably best omitted whilst the music is being learnt. The workability of this arrangement does need to be evaluated and PlentyMusic would value feedback from musicians trying out this arrangement. It is possible that there are better octave options in the parts that could be explored. animando used in the score implies an increase in tempo and has been placed above the stave as a score marking The music in this sounds in the key of G minor. Playing the scale in the sounding key of G in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music of Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests many images of the country. There is also much figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing most errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement and instrument ranges are often challenging. Close
Tchaikovsky’s Chanson Triste arranged for clarinet quintet comprising 5 x Bb clarinets and bass clarinet. An Eb clarinet can be used to play the cla Show More...
Tchaikovsky’s Chanson Triste arranged for clarinet quintet comprising 5 x Bb clarinets and bass clarinet. An Eb clarinet can be used to play the clarinet in Bb 1 part. The clarinet quintet realisation plays back at 100 quarter note (crotchet) beats to the minute This is a 5 part arrangement with the option of substituting a clarinet in Eb for the Clarinet in Bb 1 part. Individual parts for the clarinet players are appended to the full score in the pdf download. Accompaniments are in place to provide opportunity for the clarinet in Eb or clarinet in Bb 1 player to practice in an ensemble context. They playback at 96, 98,100, 102 & 104 quarter note or crotchet bpm. In the arrangement there are a number of octave transpositions (upwards) in the bass clarinet part. For instrumentalists this is an excellent piece for improving intonation (aka playing in tune) in an ensemble context. The clarinet is a great ensemble instrument whatever the playing level . The music editor does feel sorry for the status of clarinet 4 because the number 4 doesn’t suggest the difficulty of the part in the arrangement as far as exploring the lower pitch range of the clarinet. One of Tchaikovsky’s most popular pieces composed in 1878 for piano and arranged for clarinet quintet in the original key of G minor. It is a ternary form ABA movement in a reflective melancholy mood. It has a regular phrase structure and the melodic line needs to be played with a singing legato. When performing the music be aware that tempo changes particularly at the end of phrases are appropriate. The music needs to be delivered with expression and a broad range of dynamics. Playing the A minor scale (sounding in G minor) in both the harmonic and melodic forms would be excellent preparation for playing this intermediate level work. Close
Debussy’s Arabesque No. 1 arranged for clarinet quartet, comprising 3 clarinets in Bb and bass clarinet sounding in the key of F. This is music comp Show More...
Debussy’s Arabesque No. 1 arranged for clarinet quartet, comprising 3 clarinets in Bb and bass clarinet sounding in the key of F. This is music composed whilst Debussy was still in his 20’s. The first Arabesque has a tempo marking Andantino con moto whist the realisation for clarinet quartet plays back at an initial 112 quarter note (crotchet) beats to the minute. The music has been transposed from the original key of E to F. There are some of octave transpositions in the arrangement keeping the instrument parts within the range of the instrument. It is a three section work. Clarinet parts appropriately transposed are appended to the full music score. Tempo considerations have great relevance in the performance of this music. In terms of beauty of music lines this is a hard piece of music to beat which makes it an enthralling and challengeing ensemble piece possibly best performed with a conductor in place or by the clarinet in Bb 1 player who is a competent leader. Learning 3’s against 2’s as a cross rhythm (and 2’s against 3’s) are probably best learnt as clapping/tapping games in a group context. Much of the writing in this movement references triadic chords played as arpeggios. The intervals of the thirds and tenth (compound third) feature strongly in the parallel motion It is a three section work with the reflective middle section referencing the key of the sub-dominant. The triplet pattern is a strong feature of the movement. Instrumentalists new to playing cross rhythms need to practice playing triplet rhythms for a bar and then change it to eighth notes (quavers) so that they develop a clear sense of pulse in their playing. This a movement where the tempo often ebbs and flows in what is referred to as Tempo Rubato. This is an important aspect of performance practice and something that is first associated with the music of Chopin. Instrumentalists need to have a clear understanding of all the terms used in the score detail. 20th century music scores do generally have more graphics and terms in place to assist how the music is to be played and interpreted. A quite stunning and impressionable piece in all senses of the word with a strong sense of melody that lends itself to being arranged for an ensemble such as a clarinet quartet. Debussy composed his two Arabesques between 1888 and 1891 whilst still in his 20’s. They were originally composed for piano. They are movements that challenge the established pathways of his late romantic contemporaries. They are often described as early impressionist pieces although Debussy himself didn’t like references of his music using the term. Debussy has famously been described as the composer who opened the door to 20th century musical composition in the sense that his compositional approach was different to that of many of his contemporaries whose music was generally becoming increasingly dissonant. Debussy’s writing is more about exploring the beauty of sound without necessarily following the rules of harmonic writing that prevailed in the 19th century. Debussy created a new approach to composition in which beauty of sound and line were paramount exploring connections between the visual arts, nature and the environment around him His music is frequently described as being evocative in that he describes in music what he sees, hears and observes from his experiences of life. He is a composer of visual music. Debussy also lived at a time when the world as such was coming to Europe with exhibitions and as a composer he was open and influenced by the many cultures as his music suggests. Clarinet accompaniments are in place to encourage ensemble practice playing at 100-88 -100 quarter note (crotchets) beats per minute and also 104-092-104, 104-100-104, 108-100-108, 112-096-112 and 112-104-112 bpm with the tempo referring to the music as a three section work. If there clarinettists who would like additional accompaniments in place please advise the PlentyMusic office with tempo suggestions. Whilst there are tempo changes in these accompaniments rubato playing is not as such represented. Arabesque is a term that refers to artistic decoration and line which are terms relevant to music. The art in respect to Arab culture is also extremely relevant as the term suggests having both historical and modern contexts. Spend time looking at Arabesque graphics. There are related aspects to line and position in ballet music so as a description of a piece of music the term Arabesque has several references and meaning. Close
Improve music practice routines playing J.S. Bach’s Invention 2 BWV 773 sounding in the key of C minor in an arrangement for soprano & tenor saxopho Show More...
Improve music practice routines playing J.S. Bach’s Invention 2 BWV 773 sounding in the key of C minor in an arrangement for soprano & tenor saxophone duo. The Bach Inventions as duos offer excellent practice & performance opportunities This is a melodic two part invention with ornaments in place that needs to be played with both feeling and sensitivity. The full score appropriately transposed has appended soprano & tenor saxophone parts. The realisation plays back at 52 bpm The 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. There are some octave transposition in the tenor saxophone needed to keep to the instrument’s range. 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. In the sheet music score the ornaments are indicated but do not sound in the realisation or accompaniments. Those wishing to know how the ornaments are played should refer to the piano video score on the YouTube channel. In this the ornaments have been written out as they should be played. Accompaniments are in place allowing saxophonists to participate in play-a-long ensemble activities as part of music practice routines. The soprano saxophone sounds on one side of the stereo channel and the tenor saxophone on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 58 & 60 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. Accompaniments are available with and without ornaments in place. Understand that ornaments can be interpreted differently and that performance practice is both an evolving and often reviewed subject. The music editor avoids ornaments ocurring in different voices at the same time. How ornaments are played at cadences in particular is a fascinating subject in the baroque era. Frequently players embrace an element of improvisation in their playing. The best advice is to listen to the performances and learn to discriminate as a performer between good practice and bad practice. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. Levels when they are played on different instruments may be different. 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
Improve music practice routines playing Invention 2 BWV 773 in an arrangement for oboe & bassoon sounding in the original key of C minor The Bach Inve Show More...
Improve music practice routines playing Invention 2 BWV 773 in an arrangement for oboe & bassoon sounding in the original key of C minor The Bach Inventions played as duets offer excellent music practice and performance opportunities. This is a reflective contemplative melodic two part invention with ornaments in place that needs to be played with feeling and sensitivity. Oboe and bassoon parts are appended to the full score in the pdf download. The sheet music video plays back at 52 bpm The 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. In the sheet music score the ornaments are both indicated and sound in the realisation. The music editor has avoided placing ornaments in the two parts at the same time. Accompaniments are in place allowing double reed oboe & bassoon players to participate in play-a-long ensemble activities as part of music practice routines. The oboe sounds on one side of the stereo channel and the bassoon on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 58 & 60 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. Accompaniments are available with and without ornaments in place. In the keyboard video score, which oboe & bassoon 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 an evolving and often reviewed subject. How ornaments are played at cadences in particular is a fascinating subject in the baroque era. Improvised and often complex cadential phrases are an aspect of performance that feature in performances. The best advice is to listen to the performances and learn to discriminate as a performer between good practice and not so good practice. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. Levels when they are played on different instruments may be different. 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
J. S. Bach’s Invention No. 2 BWV 773 arr. clarinet duo and sounding in the key of C minor offers excellent music practice and performance opportuni Show More...
J. S. Bach’s Invention No. 2 BWV 773 arr. clarinet duo and sounding in the key of C minor offers excellent music practice and performance opportunities. A melodic two part invention with ornaments in place that needs to be played with feeling and sensitivity. The full score appropriately transposed has appended individual clarinet parts. The realisation plays back at 52 bpm Pdf sheet music and play-a-long mp3 accompaniments are available to download. 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. There are some octave transpositions in the clarinet part in the closing section to keep to the instrument’s range. 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. In the sheet music score the ornaments are both indicated and sound in the realisation. The music editor has avoided placing ornaments in the two parts at the same time. Accompaniments are in place allowing clarinettists to participate in play-a-long ensemble activities as part of music practice routines. Clarinet 1 sounds on one side of the stereo channel and the clarinet 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 58 & 60 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. Accompaniments are available with and without ornaments in place. In the keyboard video score, which clarinettists 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 an evolving and often reviewed subject. How ornaments are played at cadences in particular is a fascinating subject in the baroque era. Improvised and often complex cadential phrases are an aspect of performance that feature in performances. The best advice is to listen to the performances and learn to discriminate as a performer between good practice and bad practice. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. Levels when they are played on different instruments may be different. 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 BWV 780 arr. oboe & bassoon sounding in the key of F minor is a challenging invention to play particularly from the note reading point of Show More...
Invention 9 BWV 780 arr. oboe & bassoon sounding in the key of F minor is a challenging invention to play particularly from the note reading point of view. There are many accidentals to read and it is easy to make music reading errors. Listen to performances of the music so that the melodic and shapes are familiar. 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 realisation plays back at 56 quarter note or crotchet beats per minute. Accompaniments are in place allowing double reed players to participate in ensemble activities as part of practice routines. The oboe sounds on one side of the stereo channel and the bassoon 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. In the keyboard video score, which oboe 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 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. In addition, that he was not sadly. They are excellent pieces for ensemble playing. Close
Invention 9 BWV 780 in the key of F minor is a challenging invention to play particularly from the note reading and voice leading point of view. There Show More...
Invention 9 BWV 780 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. There are some octave range transpositions in the clarinet part. An excellent movement to encourage good intonation (tuning) and the 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. Good preparation for playing this movement would be to play the Fminor scale in both its melodic and harmonic form. In the sheet music score the ornaments are indicated but do not sound. The realisation plays back at 58 quarter note or crotchet beats per minute. Accompaniments are in place allowing flute and clarinet players to participate in ensemble activities as part of practice routines. The flute sounds on one side of the stereo channel and the clarinet in Bb on the other. The accompaniment tracks play back at 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. In the keyboard video score, which flute players in this instance might want to reference on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. 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. In addition, that he was not sadly. They are excellent pieces for ensemble playing. Close
Invention 9 BWV 780 in the key of F minor is a challenging invention to play particularly from the note reading and voice leading point of view. There Show More...
Invention 9 BWV 780 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 octave range or more is not so much in evidence in place in this arrangement presenting 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 clarinettists 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 #sheetmusic video plays back at 56 quarter note or crotchet beats per minute. Accompaniments are in place allowing flute players to participate in ensemble activities as part of practice routines. Flute 1 sounds on one side of the stereo channel and flute 2 on the other. The accompaniment tracks play back at 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 BWV 780 in the key of F minor is a challenging invention to play particularly from the note reading and voice leading point of view. There Show More...
Invention 9 BWV 780 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, if you believe the music editor, so easy to make music reading errors. The octave range or more is not in place in this arrangement presenting 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 realisation plays back at 58 quarter note or crotchet beats per minute. Accompaniments are in place allowing clarinet players to participate in ensemble activities as part of practice routines. The clarinet in Bb 1 sounds on one side of the stereo channel and the clarinet in Bb 2 on the other. The accompaniment tracks play back at 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. In the keyboard video score, which clarinettists 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 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. In addition, that he was not sadly. They are excellent pieces for ensemble playing. Close
J. S. Bach’s Invention 10 BWV781 in an arrangement for two oboes in the original key of G. The realisation plays back at 84 dotted quarter (crotche Show More...
J. S. Bach’s Invention 10 BWV781 in an arrangement for two oboes in the original key of G. The realisation plays back at 84 dotted quarter (crotchet) note beats to the minute. There are some octave transpositions in the oboe 2 part. Whilst score detail is generally not in place on Bach scores although it is necessary for instrumentalists to have a clear intention of how the music is to be played. 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 in the playing which can be challenging because of the tension it creates. 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 consideration, 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 oboe players to participate in ensemble activities as part of practice routines. Oboe 1 sounds on one side of the stereo channel and oboe 2 on the other. The accompaniment tracks play back at 72, 76, 80, 84, 88, 92, 96, 100 and 104 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 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 a sound and secure technique. Close
J. S. Bach’s Invention 10 BWV781 in an arrangement for oboe & bassoon duo in the original key of G. This Invention features many musical shapes bas Show More...
J. S. Bach’s Invention 10 BWV781 in an arrangement for oboe & bassoon duo in the original key of G. This Invention features many musical shapes based on chords and consequently lends itself to chord playing instruments. The realisation plays back at 84 dotted quarter (crotchet) note beats to the minute. Whilst score detail is generally not in place on Bach scores although it is necessary for instrumentalists to have a clear intention of how the music is to be played. 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 creates. 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 oboe and bassoon players to participate in ensemble activities as part of practice routines. The oboe sounds on one side of the stereo channel and the bassoon on the other. The accompaniment tracks play back at 72, 76, 80, 84, 88, 92, 96 100 and 104 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
J.S.Bach’s Invention 10 BWV 781 in an arrangement for flute in the original key of G is a challenging invention to play simply from how the players Show More...
J.S.Bach’s Invention 10 BWV 781 in an arrangement for flute 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. 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. 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 flautists players to participate in ensemble activities as part of practice routines. Flute 1 sounds on one side of the stereo channel and Flute 2 on the other. The accompaniment tracks play back at 72, 76, 80, 84, 88, 92, 96 100 104 and 108 dotted quarter note (crotchet) beats per minute. 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
J .S. Bach’s Invention 11 BWV 782 arranged for oboe & bassoon duo is a work exploring the minor scale. The chromatic element in the movement is stro Show More...
J .S. Bach’s Invention 11 BWV 782 arranged for oboe & bassoon duo is a work exploring the minor scale. The chromatic element in the movement is strong and the accidentals make this a challenging score to both read and memorise. The best preparation for playing this movement is to play the minor scale at sounding pitch in both its forms slowly until the sound of each is familiar. In this video score ornaments are not in place. In the original piano version of the inventions the use of treble and bass clef ensures an interval distance of usually more than an octave. In this arrangement the interval distances are the same. The playback score in the arrangement for oboe & bassoon has a tempo of 60 quarter note or crotchet beats to the minute. The movement can be played at both slower and faster tempi. The inventions are concentrated demanding movements to play in an ensemble context but excellent for encouraging listening skills, good intonation and accurate playing. The movement is probably best learnt without the ornaments in place in the first instance. Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing does need to be avoided. Accompaniments are in place allowing oboe & bassoon players to participate in ensemble activities as part of practice routines. The oboe sounds on one side of the stereo channel and the bassoon on the other whilst the accompaniment tracks play back at 56, 58, 60, 62, 64, 66 and 68 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. Instrumentalists should spend time listening to performances of the work by a range of musical instruments to understanding playing approaches. Players will possibly need to edit their scores with reminders about accidentals within the bar. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Playing levels will perhaps need to be reviewed when different instrument combinations are involved. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. Those learning how to use music notation software and improve their listening skills will find this an excellent study to copy simply because of the many accidentals that require attention from the listening and notation point of view. Accurate notation will suggest an excellent understanding of the staff notation system. Close
J .S. Bach’s Invention 11 BWV 782 arranged for flute & clarinet in Bb duo is a work exploring the minor scale. The chromatic element in the movemen Show More...
J .S. Bach’s Invention 11 BWV 782 arranged for flute & clarinet in Bb duo is a work exploring the minor scale. The chromatic element in the movement is strong and the accidentals make this a challenging score to both read and commit to memory. The best preparation for playing this movement is to play the minor scale at sounding pitch in both its forms slowly until the sound of each is familiar. In this video score ornaments are not in place. In the original piano version of the inventions the use of treble and bass clef ensures an interval distance of usually more than an octave. In this arrangement the music editor has maintained this where it is appropriate but when necessary the clarinet in Bb part has some octave transpositions to keep to the range of the instrument. The playback score in the arrangement for the flute & clarinet in Bb duo has a tempo of 60 quarter note or crotchet beats to the minute. The suggestion is that the movement can be played both at slower and faster tempo. The inventions are concentrated demanding movements to play in an ensemble context but excellent for encouraging listening skills, good intonation and accurate playing. The movement is probably best learnt without the ornaments in place in the first instance. Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing does need to be avoided. Accompaniments are in place allowing flute & clarinet players to participate in ensemble activities as part of practice routines. The flute sounds on one side of the stereo channel and the clarinet on the other whilst the accompaniment tracks play back at 56, 58, 60, 62, 64, 66 and 68 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks Instrumentalists should spend time listening to performances of the work by a range of musical instruments to understanding playing approaches. Players will possibly need to edit their scores with reminders about accidentals within the bar. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Playing levels will perhaps need to be reviewed when different instrument combinations are involved. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. Those learning how to use music notation software and improve their listening skills will find this an excellent study to copy simply because of the many accidentals that require attention from the listening and notation point of view. Accurate notation will suggest an excellent understanding of the staff notation system. Close
J .S. Bach’s Invention 11 BWV 782 arr. soprano & tenor saxophone duo is a work exploring the minor scale. The chromatic element in the movement is s Show More...
J .S. Bach’s Invention 11 BWV 782 arr. soprano & tenor saxophone duo is a work exploring the minor scale. The chromatic element in the movement is strong and the accidentals make this a challenging score to both read and commit to memory. The sounding key is G minor which is the key for the original piano version. The full score and attached parts have been transposed. The best preparation for playing this movement is to play the minor scale in both its forms at the sounding pitch. In this score ornaments are not in place. The playback score in the arrangement for soprano and tenor saxophones has a tempo of 60 quarter note or crotchet beats to the minute. The suggestion is that the movement can be played both at slower and faster tempo. The inventions are concentrated demanding movements to play in an ensemble context but excellent for encouraging listening skills, good intonation and accurate playing. The movement is probably best learnt without the ornaments in place in the first instance. Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing does need to be avoided. Accompaniments are in place allowing saxophone players to participate in ensemble activities as part of practice routines. Each clarinet sounds on one side of the stereo channel with the accompaniment tracks playing back at 56, 58, 60, 62, 64, 66 and 68 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks Instrumentalists should spend time listening to performances of the work by a range of musical instruments to understanding playing approaches. Players will possibly need to edit their scores with reminders about accidentals within the bar. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Playing levels will perhaps need to be reviewed when different instrument combinations are involved. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. Those learning how to use music notation software and improve their listening skills will find this an excellent study to copy simply because of the many accidentals that require attention from the listening and notation point of view. Accurate notation will suggest an excellent understanding of the staff notation system. Close
J .S. Bach’s Invention 11 BWV 782 arranged for clarinet in Bb duo is a work exploring the minor scale. The chromatic element in the movement is str Show More...
J .S. Bach’s Invention 11 BWV 782 arranged for clarinet in Bb duo is a work exploring the minor scale. The chromatic element in the movement is strong and the accidentals make this a challenging score to both read and remember. The best preparation for playing this movement is to play the minor scale appropriately transposed in both its forms slowly until the sound of each is familiar. The movements sounds in the original key of G minor whilst the sheet music parts are appropriately transposed. In this version ornaments do not sound in the realisation or playback score although they are indicated in the sheet music score. The movement is probably best learnt without the ornaments in place in the first instance. In the original piano version of the inventions the use of treble and bass clef ensures an interval distance of usually in excess of an octave. In this arrangement the music editor has maintained this where it is appropriate but when necessary the clarinet 2 part has some octave transpositions to keep to the range of the instrument. The playback score in the arrangement for the clarinet in Bb duo has a tempo of 60 quarter note or crotchet beats to the minute. The suggestion is that the movement can be played both at slower and faster tempo. The inventions are concentrated demanding movements to play in an ensemble context but excellent for encouraging listening skills, good intonation and accurate playing. Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing does need to be avoided. Accompaniments are in place allowing clarinet players to participate in ensemble activities as part of practice routines. Clarinet 1 sounds on one side of the stereo channel and Clarinet 2 on the other. Accompaniment tracks play back at 56, 58, 60, 62, 64, 66 and 68 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. Instrumentalists should spend time listening to performances of the work by a range of musical instruments to understanding playing approaches. Players will possibly need to edit their scores with reminders about accidentals within the bar. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Playing levels will perhaps need to be reviewed when different instrument combinations are involved. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. Those learning how to use music notation software and improve their listening skills will find this an excellent study to copy simply because of the many accidentals that require attention from the listening and notation point of view. Accurate notation will suggest an excellent understanding of staff notation. Close
J.S. Bach’s Invention 14 BWV 785 arr. bassoon sounding in the original key of Bb is a rhythmical work and a movement in which figuration is a substi Show More...
J.S. Bach’s Invention 14 BWV 785 arr. bassoon sounding in the 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 make way for some exacting and rhythmic figuration. Players should have an understanding of the phrasing needed before playing. J. S. Bach’s, is from the baroque era in music history and the convention is that there is minimal score detail in place in sheet music scores. The realisation plays back at 52 quarter note or crotchet beats to the minute. That said the movement is probably best played with an awareness of an eighth note or quaver pulse. Parts appropriately transposed are attached to the full score. In this arrangement the bassoon 1 part has been transposed down an octave so that the two bassoons are essentially an octave closer than in the original piano version. Accompaniments are in place allowing bassoon players to participate in ensemble activities as part of practice routines. Bassoon 1 sounds on one side of the stereo channel and bassoon 2 sounds on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56 58 and 60 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 different approaches to playing this invention and instrumentalists should spend time listening to performances of the work by a range of musical instruments 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 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 a sound and secure keyboard technique. Close
J.S. Bach’s Invention 14 BWV 785 arranged for soprano and tenor saxophone duo sounding in the original key of F. An excellent movement to improve e Show More...
J.S. Bach’s Invention 14 BWV 785 arranged for soprano and tenor saxophone duo sounding in the original key of F. An excellent movement to improve ensemble playing and intonation requiring saxophone players to listen to each other and be constantly aware of the eighth note or quaver pulse. This is a challenging 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. In this arrangement the 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 52 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. There are a number of octave transpositions in the tenor saxophone 2 part enabling the part to be kept to the instruments range. Accompaniments are in place allowing alto saxophone players to participate in ensemble activities as part of practice routines. The soprano saxophone sounds on one side of the stereo channel and the tenor saxophone 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 59 and 61 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, augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. Close
J.S. Bach’s Invention 14 BWV 785 arranged for tenor saxophone duo sounding in the original key of Bb. This is a challenging rhythmical work and a mo Show More...
J.S. Bach’s Invention 14 BWV 785 arranged for tenor saxophone duo sounding in the original key of Bb. This is a challenging rhythmical work and a movement in which figuration is a substitute for ornamentation. This is an excellent movement to improve ensemble playing and intonation requiring saxophone players to both listen to each other and to be constantly aware of the eighth note or quaver pulse. Players need to have a vision and understanding of the phrasing needed before playing this movement. As the tenor saxophone 2 has been transposed down an octave the two parts are much closer to each other in the octave sense. Indivual parts appropriately transposed are appended to the full score. 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 50 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. There are a number of octave transpositions in the tenor saxophone 2 part enabling the part to be kept to the instruments range. Accompaniments are in place allowing tenor saxophone players to participate in ensemble activities as part of practice routines. Tenor saxophone 1 sounds on one side of the stereo channel and the tenor saxophone 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 59 and 61 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, augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing secure performing techniques whatever the instrument being played. Close
J.S.Bach’s Invention 8 BWV 779 arranged clarinet in Bb & bass clarinet. One of the most popular of the two part inventions with scale runs and chord Show More...
J.S.Bach’s Invention 8 BWV 779 arranged clarinet in Bb & bass clarinet. 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 to help players improve their technique and ensemble playing skills. The realisation plays back at 92 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Clarinettists 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 92 quarter note or crotchet beats to the minute. Accompaniments are in place allowing trumpet and trombone players to participate in ensemble activities as part of practice routines. The trumpet sounds on one side of the stereo channel and the trombone on the other. The accompaniment tracks play back at, 80, 84, 88, 92, 96 and 100 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. 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
J.S.Bach’s Invention 8 BWV 779 arranged for flute and bassoon. One of the most popular of the two part inventions with scale runs and chord shapes t Show More...
J.S.Bach’s Invention 8 BWV 779 arranged for flute and bassoon. 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 woodwind players to play to improve technique The realisation plays back at 92 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Woodwind 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 92 quarter note or crotchet beats to the minute. Accompaniments are in place allowing flute and bassoon players to participate in ensemble activities as part of practice routines. The flute sounds on one side of the stereo channel and the bassoon 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
J.S.Bach’s Invention 8 BWV 779 arranged for clarinet in Bb duo sounding in the key of F. One of the most popular of the two part inventions with sca Show More...
J.S.Bach’s Invention 8 BWV 779 arranged for clarinet in Bb duo sounding in the key of F. One of the most popular of the two part inventions with scale runs and chord shapes to master. An appropriately transposed sheet music score is available from the website. Accompaniments are also in place. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for clarinettists to play to improve technique. There are some octave transpositions in the lower part to keep to the range of the instruments. The realisation plays back at 104 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Clarinet players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Remember that music cannot be played quickly until it can be played slowly. At times in the arrangement the contrapuntal lines are an octave closer together than in the piano version. Ornaments are not generally featured in this movement whilst the realisation plays back at 96 quarter note or crotchet beats to the minute. Accompaniments are in place allowing clarinettists to participate in ensemble activities as part of their practice routines. Clarinet in Bb 1 sounds on one side of the stereo channel and Clarinet in Bb on the other. The accompaniment tracks play back at 76, 80, 84, 88, 92, 96, and for the brave 100 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. 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. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format. Close
Invention 4 BWV 775 arranged for clarinet in Bb and bass clarinet sounding in the key of D minor is an appealing work featuring an opening motif or me Show More...
Invention 4 BWV 775 arranged for clarinet in Bb and bass clarinet sounding in the key of D minor is an appealing work featuring an opening motif or melodic shape that combines stepwise movement with the interval of a falling diminished seventh. The realisation plays back at 45 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 G natural (sounding F natural) but many alternate a G# (sounding F#) with the E. In the video score, which clarinet 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 Clarinet in Bb sounds on one side of the stereo channel and the Bass Clarinet 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. Close
Serenade by R. Hoffstetter is a movement from a popular classical string quartet. The arrangement for clarinet quartet marked Andante cantabile in thi Show More...
Serenade by R. Hoffstetter is a movement from a popular classical string quartet. The arrangement for clarinet quartet marked Andante cantabile in this arrangement sounds in the key of B flat 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 style detached 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 clarinet accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments feature the clarinet in Bb 2, clarinetin Bb 3 and bass clarinet parts and gives opportunity to the clarinet in Bb 1 player 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) 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. Close
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for wind quartet comprising flute, oboe, Show More...
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for wind quartet comprising flute, oboe, clarinet in Bb and bassoon sounding in the key F 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. Wind 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 flute players in a home studio situation. The oboe and clarinet in Bb 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 flute 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
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for saxophone quartet comprising soprano Show More...
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for saxophone quartet comprising soprano, 2 alto and baritone saxophones sounding in the key Eb 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. Saxophonists 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 soprano saxophone players in a home studio situation. The alto saxophone 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 soprano saxophone 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
Bach J.S. Sinfonia 11 BWV 797 arranged for double reed woodwind trio of oboe, English horn & bassoon. The Sinfonia arrangements from PlentyMusic are Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for double reed woodwind trio of oboe, English horn & bassoon. 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. Woodwind accompaniments, featuring the English horn and bassoon, 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 flute player the opportunity of playing in an ensemble. In this arrangement the oboe plays voice 1, the English horn voice 2 and the bassoon voice 3. The woodwind trio realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. 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. Woodwind 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 feature 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 not quite together. While this music sounds emotional and encourages an emotional response to listeners it needs to be performed with a clarity and intention. 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
Bach J.S. Sinfonia 11 BWV 797 arranged for woodwind trio of flute, clarinet in Bb & bassoon. The Sinfonia arrangements from PlentyMusic are excellent Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for woodwind trio of flute, clarinet in Bb & bassoon. 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. Woodwind accompaniments, featuring the clarinet in Bb and bassoon, 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 flute player the opportunity of playing in an ensemble. In this arrangement the flute plays voice 1, the clarinet in Bb voice 2 and the bassoon voice 3. The woodwind trio realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. 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. Woodwind 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 feature 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 not quite together. While this music sounds emotional and encourages an emotional response to listeners it needs to be performed with a clarity and intention. 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
Bach J.S. Sinfonia 11 BWV 797 arranged for clarinet trio The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice Show More...
Bach J.S. Sinfonia 11 BWV 797 arranged for clarinet trio 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. Clarinet accompaniments 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 clarinet in Bb 1 player the opportunity of playing in an ensemble. In this arrangement clarinets in Bb 1 and 2 play voices 1 and 2 whilst the bass clarinet contributes with voice 3. The clarinet trio realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. Appropriately transposed 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. Clarinettists 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 not quite together. While this music sounds emotional and encourages an emotional response to listeners it needs to be performed with an objective approach. 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
Bach J.S. Sinfonia 8 BWV 794 arranged for a double reed woodwind trio of oboe, English horn (Cor anglais) and bassoon. The Sinfonia arrangements from Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for a double reed woodwind trio of oboe, English horn (Cor anglais) and bassoon. 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. Woodwind parts for oboe, English horn, appropriately transposed and bassoon are appended to the full sheet music score. In this arrangement the oboist plays the higher voice 1, the English horn player the middle voice 2 and the bassoonist 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 clarinet in Bb 2 and bass clarinet parts are available as mp3 downloads from PlentyMusic. 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
Bach J.S. Sinfonia 8 BWV 794 arranged for woodwind trio of flute, clarinet in Bb and bassoon. The Sinfonia arrangements from PlentyMusic are excellen Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for woodwind trio of flute, clarinet in Bb and bassoon. 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. Woodwind parts for flute, clarinet in Bb appropriately transposed and bassoon are appended to the full sheet music score. In this arrangement the flautist plays the higher voice 1, the clarinet in Bb plays the middle voice 2 and the bassoon player 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 clarinet in Bb 2 and bass clarinet parts are available as mp3 downloads from PlentyMusic. 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
F.J. Gossec’s Tambourin arranged for saxophone quintet. Improve music practice routines by downloading sheet music and piano accompaniments from Pl Show More...
F.J. Gossec’s Tambourin arranged for saxophone quintet. Improve music practice routines by downloading sheet music and piano accompaniments from PlentyMusic. A short but very appealing movement ideal as an encore for a well prepared and competent saxophone group. The arrangement is scored for soprano, 2 alto tenor and baritone saxophones. The dance element is particular strong in French music and this is a dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 112 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at a brisk tempo. There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals. A performance piece to challenge solo players to step up to advanced level standards although rhythmical and articulation aspects can be micro-managed in presenting the movement for performance to an audience There are some rhythmic options that can be explored in the clarinet in Bb 1 part in the section 51-57. The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semi quavers and demisemiquavers!) Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch. Individual parts for the 5 instruments are appended to the full score in the pdf download. Accompaniments / backing tracks are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute giving the soprano saxophonist the opportunity to practice in context. Gossec was a French composer and pupil of Rameau although little known outside France He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris. France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
F.J. Gossec’s Tambourin arranged for clarinet quintet. Improve music practice routines by downloading sheet music and piano accompaniments from Ple Show More...
F.J. Gossec’s Tambourin arranged for clarinet quintet. Improve music practice routines by downloading sheet music and piano accompaniments from PlentyMusic. A short but very appealing movement ideal as an encore for a well prepared clarinet group. The arrangement is scored for 3 clarinets in Bb and 2 bass clarinets. If there is an Eb clarinet available please advise the PlentyMusic Office and the music editor will update the score. The dance element is particular strong in French music and this is a dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 112 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at a brisk tempo. There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals. A performance piece to challenge solo players to step up to advanced level standards although rhythmical and articulation aspects can be micro-managed in presenting the movement for performance to an audience There are some rhythmic options that can be explored in the clarinet in Bb 1 part in the section 51-57. The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semi quavers and demisemiquavers!) Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch. Individual parts for the 5 instruments are appended to the full score. Accompaniments / backing tracks are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute giving the clarinet in Bb 1 the opportunity to practice in context. Gossec was a French composer and pupil of Rameau although little known outside France. He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris. France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
F.J. Gossec’s Tambourin arranged for wind quintet. Improve music practice routines by downloading sheet music and accompaniments from PlentyMusic. Show More...
F.J. Gossec’s Tambourin arranged for wind quintet. Improve music practice routines by downloading sheet music and accompaniments from PlentyMusic. A short but very appealing movement ideal as an encore for the competent soloist well warmed up and prepared to engage with the challenges of presenting a concert piece. The arrangement is scored for flute, oboe, clarinet in Bb, horn in F (French horn) and bassoon. The dance element is particular strong in French music and this is a dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 112 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at a brisk tempo. There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals. A performance piece to challenge solo players to step up to advanced level standards although rhythmical and articulation aspects can be micro-managed in presenting the movement for performance to an audience There are some rhythmic options that can be explored in the clarinet in Bb 1 part in the section 51- 57. The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semi quavers and demisemiquavers!) Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch. Individual parts for the 5 instruments are appended to the full score in the pdf download. Accompaniments / backing tracks are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute giving the flute player the opportunity to practice in context. Gossec was a French composer and pupil of Rameau although little known outside France He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris. France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
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 79 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 woodwind trio scored for flute, clarinet in Bb and bassoon. 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 woodwind 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 clarinet in Bb and bassoon 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
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for woodwind trio of flute, clarinet in Bb and bassoon. This trio version realis Show More...
An arrangement from PlentyMusic of J.S Bach’s Sinfonia 5 (BWV 791) for woodwind trio of flute, clarinet in Bb and bassoon. This trio version realisation 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 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 alto and baritone saxophone providing opportunity for flute players to develop their ensemble playing in a home practice situation. They play at 56, 60, 64 and 68 quarter or crotchet beats 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
An intermediate level arrangement for wind quintet of a movement from a Mendelssohn organ sonata. Scored for flute, oboe, clarinet in A, French horn ( Show More...
An intermediate level arrangement for wind quintet of a movement from a Mendelssohn organ sonata. Scored for flute, oboe, clarinet in A, French horn (horn in F) and bassoon, individual parts for instrumentalists are appended to the full score available as a pdf download from PlentyMusic. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially a chorale or hymn much in keeping with the chorale of J. S. Bach although Mendelssohn’s harmonic language is chromatic rather than diatonic. There is opportunity to slow down and pause at the ends of phrases although there is only one such marking in the sheet music score. There are some octave transpositions in the flute and oboe parts. Playing chorale arrangements like this are excellent for developing ensemble playing and good intonation. A generally quiet movement, woodwind players should be aiming for a legato in their playing. The video realisation plays back at 76 quarter note (crotchet) beats to the minute. mp3 accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute enabling flute players to participate in ensemble activities as part of their practice routines. Mendelssohn was an extremely popular composer in England. Described as a romantic composer he leans more to the classical line of the tradition along with composers Schubert (1797 – 1828) Chopin (1810 – 1849) and Brahms (1833- 1897) rather than the more radical represented by Berlioz (1803 – 1869), Liszt (1811 – 1886), and Wagner (1813-1883). Schumann (1810 - 1856) is the composer who interestingly links the two threads. Close
This arrangement for woodwind quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for flute, oboe, clarinet in B flat and basso Show More...
This arrangement for woodwind quartet of Rheinberger’s Cantilene from his Organ Sonata No.11 is scored for flute, oboe, clarinet in B flat and bassoon. Instrumental parts for individual instruments are appended to the full score. Accompaniments are also available allowing the violin 1 player to enjoy ensemble practice in context. There is a one bar eighth note (quaver) click track before the violin 2, viola and cello start to sound. They play back at 80, 84 and 88 eighth (quaver) notes to the minute. Rheinberger was a prolific composer and made a significant contribution to the organ music repertoire. Born in Liechtenstein he spent most of his life in Germany. He was also a distinguished teacher from the years he spent in Munich and Richard Strauss was just one of many distinguished pupils. J.G. Rheinberger is a name familiar to organists but like many church composers his music is not widely known outside the music world in which he worked. The Cantilena is the second movement of Rheinberger’s Organ Sonata No. 11 in D minor published as his Opus 148. The work was composed in 1888. Rheinberger was particularly influenced by J.S. Bach, F. Mendelssohn, R. Schumann and J. Brahms in his compositional approach. While the piece is reminiscent of Bach’s Arioso style the strong chromatic element in the writing belongs very much to its time identified as the late romantic period in music history. A beautifully crafted score this is really a late 19th century manifestation of a Bach chorale harmonisation with the influence of Brahms chromatic harmony. Apart from the beauty of the melody the counterpoint particularly in the inner parts of the accompaniment is a joy to explore. There are few dynamic markings in the score which is actually very untypical of music scores of the time. The realisation plays back at 84 eighth note beats to the minute. Instrumentalists need to play with an awareness of the eighth note or quaver pulse. Performers would be wise to study the harmonic outline and examine the voice leading in the individual parts. Careful attention needs to be paid to the accidentals and tied notes in the score. The music scores available are often contradictory particularly in respect to the tied notes in the inner parts.Cantilena is an Italian/Latin word suggesting both lullaby and song. A movement that is intended to be played quietly in a sustained approach. The melody needs to be played with a legato whilst the bass line is played with a detached or staccato touch. The melody explores several rhythmic motifs often featuring tied notes. Much of the writing features off-beat rhythms related to the resolving of the dissonances in the inner parts. The influence of the Bach 4 part chorale harmonisation is paramount together with the chromatic harmony that can be readily identified in the music of J. Brahms. There are several arrangements available from the PlentyMusic website for both ensembles and solo instruments with piano accompaniment. Close
An intermediate level arrangement from PlentyMusic for woodwind trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Gia Show More...
An intermediate level arrangement from PlentyMusic for woodwind trio of the second movement Siciliana from the String Trio Opus 17 No. 1 by Felice Giardini. This trio arrangement is for flute, clarinet in Bb and bassoon. Giardini’s string trio’s are beautifully crafted works and need to be re-discovered and played. The tempo marking in the sheet music score is Adagio whilst the video score plays back at 44 dotted quarter (crotchet) notes to the minute. Trills begin on the note and have been notated in full in the video score. This area of performance practice is one that encourages debate and if instrumentalists have an alternative please do send the PlentyMusic Office an mp3 recording of a performance or rehearsal or even a notated version. The siciliana, siciliano or sicilienne is a slow dance with a lilting rhythm in three time which can be described as a slow jig and features quite strongly in baroque music and in many works since. Such music is often in the minor key, pastoral in character with dotted rhythms frequently prevailing. Its origins are possibly Sicilian because of its association with the Sicilian born Alessandro Scarlatti but more likely to the madrigals of the Italian renaissance. Giardini’s music is familiar to those who sing hymns as the tune Moscow was composed by him. Giardini 1716 – 1796 Italian by birth, was a violinist and composer, who toured widely in Europe settling in England and becoming an orchestra leader of the Italian Opera in London and director of the orchestra at the London Pantheon. He worked closely with his friend and colleague J. C. Bach, familiarly referred to as the the London Bach. For a 15 year period from the mid 1750’s Giardini was considered to be one of the very best performing artists of his time. As a composer his chamber music, particularly his string trios, are best known and his compositional style combines style galant with the classicism of J. C. Bach and the Mannheim school associated with Stamitz. This so called pre-classical period in music is a fascinating period to study because of the great diversity in music across the main cities of Europe. After leaving England in 1784 for Naples his career faltered due mainly to changes in secure financial circumstances. Close
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for wind quartet comprising flute, oboe, clarinet in A and bassoon. Individual parts are Show More...
Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for wind quartet comprising flute, oboe, clarinet in A and bassoon. 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
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for wind quartet comprising flute, Show More...
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for wind quartet comprising flute, oboe, clarinet in Bb and bassoon. If circumstances arise then there the music could be performed by a wind ensemble with each part played by more than one instrument. Instrument parts are attached to the full score which is available from PlentyMusic as a pdf download. 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 giving opportunity to flute players to play in a wind ensemble certainly as part of their practice routines. Close
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for clarinet quartet comprising 3 c Show More...
Handel’s Lascia ch’io pianga (Let me cry) from the opera Rinaldo in an improver level instrumental arrangement for clarinet quartet comprising 3 clarinets in B flat and a bass clarinet. 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 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. Close
Invitación by I. Cervantes is a short attractive musical work. This intermediate level arrangement from PlentyMusic for wind quartet is in the key of Show More...
Invitación by I. Cervantes is a short attractive musical work. This intermediate level arrangement from PlentyMusic for wind quartet is in the key of Am and features the Cuban habanera pattern. The arrangement is scored for flute, oboe and clarinet in Bb and bassoon. The music has been transposed from the original key of E minor to A minor. Individual parts for the wind instruments are appended to the full music score. 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 instrument. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 66 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
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic for wind sextet of 2 flutes, oboe, Show More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic for wind sextet of 2 flutes, oboe, 2 clarinets in Bb and bassoon 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
The clarinet quintet arrangement of the Minuet is available from PlentyMusic as a free score. The full score has appended parts and is available as a Show More...
The clarinet quintet arrangement of the Minuet is available from PlentyMusic as a free score. The full score has appended parts and is available as a one file pdf download. Using the PlentyMusic android app the music could be printed from a smart phone. The clarinet quintet arrangement is scored for 4 clarinets in Bb and a bass clarinet. The Minuet and Trio is performed without the repeats in the Minuet sounding in the realisation. A quiet enchanting movement that demonstrates how much that Franz Schubert was 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. 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. If you would like the movement to be scored for different instruments please advise the PlentyMusic Office and one of the team will explore the possibilities. PlentyMusic would be interested in hearing and seeing any performances of this movement either in mp3 or mp4 format. Close
An arrangement for four clarinets in Bb and bass clarinet – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1 Show More...
An arrangement for four clarinets in Bb and bass clarinet – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing and tone quality in the melody playing. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. The score and parts can be downloaded as a one document pdf file from the website. Accompaniments are in place featuring the clarinet in Bb 2, 3, 4 and bass clarinet playing at 82,84 and 86 quarter note (crotchet) beats to the minute. There is a two bar count in featuring the sound of the wood block. Close
When The Saints Go Marching In arranged for clarinet choir sounding in the key of F. There are parts for 4 clarinets in Bb and bass clarinet. The play Show More...
When The Saints Go Marching In arranged for clarinet choir sounding in the key of F. There are parts for 4 clarinets in Bb and bass clarinet. The playback tempo is 100 half note or minim beats to the minute whilst the music is notated in cut time. Traditional American music songs such as “When The Saints Go Marching In” are excellent pieces for developing an understanding of the style elements associated with the performance of 20th century popular music. There is opportunity for players to explore the arrangement - the bass line played by the pianist keyboard player is open to being played with some rhythmic variation particularly during the playing of the repeat sections. Many melodies and lyrics that are recognised as spirituals are often a synthesis of several songs that had their origins as work songs before, during and after the American Civil War. Songs sung from the 1850’s and onwards were perhaps published around 1918 and then first recorded in the 1920’s. The history of the song is well documented and many there are performances to be discovered embracing a range of styles and different types of performing group. Individual parts for the five instruments are appended to the full score. There are accompaniments in place playing at 92, 96, 100 and 104 half note or minim bpm with a 4 bar count in sounding on the woodblocks. Close
The arrangement is scored for flute, oboe, clarinet in A, horn in F (French horn) and bassoon and uses the first theme from the third movement of Boro Show More...
The arrangement is scored for flute, oboe, clarinet in A, horn in F (French horn) and bassoon and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dating from 1881 the movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts whilst the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work has been incorporated into the arrangement. Individual parts appropriately transposed are appended to a copy of the full score. Close
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for flute, clarinet in Bb and bassoon the tempo of the rea Show More...
A short but quite charming piece from the composer's Opus 1 collection. In this arrangement for flute, clarinet in Bb and bassoon the tempo of the realisation is 62 quarter note (crotchet) beats to the minute although there are some slowing downs and speedings up in the performance. As the piece is quite short only the full score copy is available as a download. The melody needs to be played in a legato singing style whilst the score needs to be studied so that the rhythmic intention of bars 9 and 11 is clearly understood by players. The melodic line in bars 10 and 12 needs to played as if as it is independent of the triplet figuration in the accompaniment. Understand that the music is conceived in three/sometimes four voices and dates from the late romantic period or nationalist period in music history. Close
In this arrangement for two oboes & bassoon the sounding key is C and a tempo of 132 quarter note (crotchet) beats to the minute is recommended. The p Show More...
In this arrangement for two oboes & bassoon the sounding key is C and a tempo of 132 quarter note (crotchet) beats to the minute is recommended. The parts for the individual instruments 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 stylistically. The Divertimenti (and the related Viennese Sonatinas) are relatively easy works well worth exploring. Close
This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for flute, clarinet in A and basso 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 flute, clarinet in A and bassoon of the first section of the piece, the melody is played by the flute while the chords and bass are played by the clarinet in A and bassoon 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
This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for soprano, alto & tenor saxophon 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 soprano, alto & tenor saxophone, of the first section of the piece, the melody is played by the soprano saxophone while the chords and bass are played by the alto saxophone and tenor saxophone respectively. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and the sounding key is F 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. Accompaniments for alto saxophone are in place requiring the player to contribute the middle part. Close
This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for two Bb clarinets ,and bass cla 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 two Bb clarinets ,and bass clarinet of the first section of the piece, the melody is played by the first clarinet in Bb while the chords and bass are played by the second clarinet and bass clarinet respectively. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and the sounding key is F 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
This is a charming piece of music in 6/8 time and taken from one of Beethoven’s Sonatina’s for piano. In this arrangement for woodwind trio compri Show More...
This is a charming piece of music in 6/8 time and taken from one of Beethoven’s Sonatina’s for piano. In this arrangement for woodwind trio comprising flute, clarinet in Bb and bassoon a tempo of 66 dotted quarter beats to the minute is recommended. The music has been transposed to the key of F and individual parts are appended to the full score. This is the second movement of Beethoven’s Sonatina in G. Whilst attributed to the composer the sonatina from which this music is from may have actually been composed by someone else. The music is from a catalogue described as an appendix. Accompaniments are in place enabling the flautist to play in a trio. Close
An arrangement for clarinet in Bb and bass clarinet of this minuet from the Anna Magdalena Notebook sounding in the key of G minor and like most dance Show More...
An arrangement for clarinet in Bb and bass clarinet of this minuet from the Anna Magdalena Notebook sounding 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. Ornaments are written out in the sheet music score which is presented to the players with both parts able to be viewed. The ornaments in place offer a practical suggestion rather than being prescriptive but are probably best omitted until the piece is familiar. The clarinet in Bb plays the melody an octave lower than in the original version for keyboard. Accompaniments are in place enabling the clarinet and bass clarinet players to participate in duet playing as part of practice routines. They play at 116, 120 & 120 bpm and there is a count in featuring the sound of the wood block. Close
An arrangement for alto and tenor saxophone of this minuet from the Anna Magdalena Notebook in the key of G minor and like most dance music from this Show More...
An arrangement for alto and tenor saxophone of this 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. Ornaments are written out in the sheet music score which is presented to the players with both parts able to be viewed. They are in place to offer a practical and musical solution. The alto saxophone plays the melody an octave lower than in the original version for keyboard. Accompaniments are in place enabling the alto and tenor saxophone players to participate in duet playing as part of practice routines. They play at 116, 120 & 120 bpm. The authorship of this minuet was only attributed to its true composer Christian Petzold in the 1970’s. It was included in the Bach family music collection Notebook for Anna Magdalena Bach and incorrectly attributed to J.S.Bach. As music was largely copied by hand in Bach’s time mistakes were often made with regard to the authorship of music. For researchers and musicologists this is very much an unending task. Close
This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for flute and bassoon. Ther 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 flute and bassoon. 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 we llas 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 106, 110 and 114 quarter note (crotchet) beats to the minute. This score was upgraded in early 2026 with accompaniments added and instrument parts appended to the full score. Close
An arrangement for clarinet in Bb and bassoon of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisa Show More...
An arrangement for clarinet in Bb and bassoon 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 found in the Notebook for Anna Magdalena Bach. This score and realisation was upgraded and accompaniments added in December 2025. Close
An arrangement for oboe and bassoon of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realisation plays Show More...
An arrangement for oboe and bassoon 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 a music score in the music collection Notebook for Anna Magdalena Bach. Close
An arrangement for clarinet and bass clarinet of this characterful and rhythmic piece in binary (AB) form sounding in the key of G minor. The realis Show More...
An arrangement for clarinet and bass clarinet 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 a music score in the music collection Notebook for Anna Magdalena Bach. Close
