Ave  Maria arr. viola & piano | Bach J.S. -  Gounod C.

One of the most recognisable melodies from the repertoire often played at weddings

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

Invention 10 arr. violin & viola duo | Bach J.S.

This Bach duet is in place to encourage good listening and intonation 

J.S.Bach’s Invention 10  BWV 781 in an arrangement for violin & viola  in the original key of G is a challenging invention to play simply from how the players decide to articulate the notes. The realisation plays back at 96 dotted quarter (crotchet) note beats to the minute. A number of musical shapes based on chords feature strongly in this movement. Score detail is generally not in place on Bach scores although it is necessary for instrumentalists  to have a clear intention of how the music is to be played.

Many play the invention articulating the eighth note or quavers staccato while others play the movement with a legato touch. The former approach requires a lightness of touch and can be a challenging to play because of the tension it created in the hands and wrist. The music editor’s view is that a combination of articulations should feature in a performance with eighth or quaver notes played with a staccato touch and longer notes legato. Certainly a lightness in the playing needs to prevail.

Players should listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement. Remember also that movements cannot be played quickly until they be played slowly!

In the video score, ornaments are indicated by symbols but do not sound in the playback. For instrumentalists wishing to incorporate ornamentation into their performances refer to the piano realisation featured on our YouTube channel which has the ornamentation written out exactly as the music editor suggests they should be played.

https://youtu.be/xuQK5i2lf44  

Ornamentation is an aspect of performance that invites different and frequently contrasting interpretations. Bach’s music belongs to the baroque era and whilst the composer himself was quite clear about the ornaments he used and how they should be played later editors of his music have often added to original intentions. The inventions are also probably best studied in the first instance without ornaments in place.

An additional factor is that the intended instrument on which the inventions were played, the harpsichord, is one that does not feature sustained sounds. Long notes as such require some sort of addition, hence the need for ornamentation. 

Another view or approach to ornamentation is that apart from adding to the music they should have a sense of being improvised. 

The music editor has chosen not to double ornaments where they occur in both voices simply because it lessens the contrast in the parts.

Accompaniments are in place allowing string players to participate in ensemble activities as part of practice routines. The violin sounds on one side of the stereo channel and the viola on the other. The accompaniment tracks play back at 72, 76, 80, 84, 88, 92, 96 100 104 and 108 dotted quarter note (crotchet) beats per minute. There is two bar count in /click track at the beginning of the accompaniment tracks. There are three dotted quarter or crotchet beats to the bar indicated by the 9/8 time signature. 

Should more accompaniments be required at either slower or faster tempi please advise the PlentyMusic office.

Whilst the ornaments are indicated in the sheet music score they do not sound in the accompaniment scores. For those intending to play the ornaments refer to the piano sheet music video on our YouTube channel. In this score the ornaments have been written out as they should be played. https://youtu.be/xuQK5i2lf44  

The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. 

The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation and diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period.

J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure technique.

Little Prelude in D arr. string  trio | Bach J.S.

A string trio arrangement of a piece found in a one of Bach's keyboard teaching pieces usually intended to be played by his children and students 

Improve as a string player with this trio arrangement of Bach’s Little Prelude BWV 936.

Practice playing in a string trio with this arrangement of J.S. Bach’s Little Prelude BWV 936 sounding in the key of D. #sheet music & accompaniments link: 

The arrangement is scored for violin, viola & cello playing pizzicato. The violin and viola  should be played legato whilst the cello should play pizzicato. There are some octave transpositions in place enabling the instrument parts to be kept to the range of the specified instruments. Individual instrument parts are appended to the full score.

Accompaniments are in place giving opportunity to the violin, viola & cello players practice as part of a trio ensemble. They playback at tempi of 66, 68, 70 and 72 quarter note or crotchet beats to the minute.

Playing music in parts encourages listening and good intonation (playing in tune).

Sinfonia 11 arr. viola & piano | Bach J.S.

A Bach piece in three parts with imitation and musical lines to follow

Bach J.S. Sinfonia 11 BWV 797 arranged for viola playing the middle voice and piano. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. 

The Sinfonia 11 is in the key of Gm is a melancholy and appealing movement with some attractive rhythmic and melodic figuration. 

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 violist the opportunity of playing in an ensemble. 

In this arrangement the violist contributes with voice 2 whilst  the pianist plays voices 1 and 3. The realisation plays back at 32 dotted quarter note beats or crotchet beats to the minute. A viola part appropriately transposed is appended to the full music score that can be downloaded from the PlentyMusic website. 

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. 

This particular 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. 

While this music sounds emotional and encourages an emotional response to listeners it needs to be performed in quite objectively. 

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 and on some of the long notes. Keyboard instruments from the Bach era were not able to sustain long notes and ornaments, particularly trills, were used to create a continuous sound. Performance practice issues can often be complex in music but a guiding principle is that the any ornaments introduced should be imitated in the other voices when appropriate.

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 but 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 the writing.

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.

Theme &  5 Variations  on a Swiss Air arr. viola & cello | Beethoven L. van 

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

Theme & 5 Variations  on a Swiss Air arr. 2 violas  | Beethoven L. van 

A short set of variations  this time for viola duet in what was one of Beethoven's favourite  musical forms particularly in his early composing years 

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

Celibrated Minuet arr. viola & piano | Boccherini L. 

A familiar minuet from the classical era popularised in the 1955 film "The Ladykillers"

In this arrangement for viola & piano of Boccherin’s Minuet & Trio from his String Quintet Opus 11 No.5 the musical texture has been simplified into melody and accompaniment. The ornaments have been written out in full to assist players although they are probably best omitted in the early stages of learning the piece. This movement requires a very consistent approach which will be a challenge to players inexperienced in performing music from this era.  A tempo of 96 quarter note (crotchet) beats to the minute is recommended. Piano  accompaniments are in place both with and without repeats enabling violists to enjoy ensemble playing  as part of their practice routines.

Serenade (Petite Suite) arr viola & piano | Borodin A.

Borodin's music was used in the musical Kismet and this melody was arranged  into the song "Night of my Nights"

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

Notturno arr. viola & piano | Borodin A.

This melody featured in the song "And this is my beloved " in the 1950's musical Kismet which largely features the music of  A. Borodin

This arrangement for viola  with piano accompaniment uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D commonly referred to as “Notturno” meaning night piece. It 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. Some octave transpositions have been applied to the parts. A tempo of 70 quarter note beats to the minute is used in the realisation. There are 4 sections in the arrangement – theme, repeat of the theme repeated with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. Wherever possible material from the original work, which dates from 1881, has been incorporated into the arrangement although the appoggiaturas that appear in the original string quartet version have been omitted.  A viola part is appended to the full score and piano accompaniments are in place.

Lullaby (Weigenlied) arr viola & piano | Brahms J.

Lullaby or Cradle Song by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for viola with piano accompaniment the sounding key is Eb and the PlentyMusic realisation of the sheet music score plays back at 80 quarter note (crotchet) beats to the minute.

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 PlentyMusic website. The piano accompaniments available are not as nuanced as an accompanist but do provide the opportunity for preparation for performance.

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. 

As a song intended to be sung by different voices there is the reality that the music is transposed to a key most appropriate for the voice. When setting the music for performance by a solo instrument there is often a choice of key options for that particular instrument. Where appropriate the music editor has made more than one option available.  

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 soloist 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. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.

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 particular 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 would be keen and willing to both listen and publish work in this category.

Waltz in A minor arr. viola & piano |  Chopin F.

A work by Chopin not published until 1860 that  actually dates from the last 2 years of the composer's life 

A gentle lilting movement with a suggested tempo of 132 quarter note beats (crotchet) to the minute which is used in the realisation. This piece needs a needs to be played with a slight speeding up and slowing down of the tempo at appropriate places in the score which is described as “tempo rubato’” and features in much of the best Chopin playing. Understand that the realisation doesn’t apply rubato in a totally satisfactory way. In Bar 21  there is a triplet option sounds for the playing of the ornaments whilst  the trill in the penultimate  bar begins on the lower note. The original piano work does have some additional ornaments which the appropriate performers may wish to consider adding after studying the s piano score.  The repeats are not played in the playback mp3. Piano accompaniments are also in place.

Rondo from Sonatina in G arr.  violin, viola & cello | Clementi M.

The melody for this Sonatina movement was adapted to become a pop hit both in the 1960's and again in the 1980's 

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

Après un rêve arr. viola & piano | Fauré G.

Familiar as a French art song the melody is also  played and performed  as a solo instrumental 

The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. This is an excellent piece for developing tonal quality and the melody needs to be played with a singing expressive legato. In this arrangement a tempo of 56 quarter note (crotchet) beats to the minute has been used in the realisation. The accompanist will need to make use of the sustaining pedal although this is not indicated and the score does require careful study in respect to the reading of the chromatic harmony. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the lyrics for the song in translation to have an understanding of the music’s original context. A solo viola part is appended to the full score. Accompaniments are available and play at the following tempi (1) 60 (2) 58  (3) 56 quarter note beats to the minute. There is a great range in the tempo that musicians both sing and play this movement and if the accompaniments available do not meet your requirements simply provide us with an annotated pdf score with the tempi score detail that you require and PlentyMusic will provide a bespoke accompaniment.

Siciliana from String Trio Opus No.1 | Giardini F.

An Italian composer and virtuoso violinist  who spent much time In England - his tune Moscow is found in many hymn books

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

Spanish Dance No.5 (Andaluza) arr. viola & piano | Granados E.

Granados's dance captures the spirit of the Spanish style and idiom in a stunning  melodic movement in ternary form

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for viola with piano accompaniment in the key of E minor.  A viola part is appended to the full score which is available as a pdf. Piano accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. Interestingly much of his music is more familiar to audiences transcribed for classical guitar. Changing time signatures are a feature of the movement, with an emphasis on the second beat of the bar and the use of accents and pauses. Ostinato is a term that could be used to describe the accompaniment figuration that features strongly in the movement. An ostinato is a repeating pattern usually repeated through a composition. Both acciaccaturas (crushed notes) and appoggiaturas (leaning notes) feature in the arrangement. The Spanish Dance No. 5 is a very appealing work in ABA (ternary form) which was very much the composing default for instrumental compositions for the time described as the late romantic or nationalist era in music history. The tempo indication given by the composer in the piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music.

Spanish Dance No.5 (Andaluza) arr. viola & guitar | Granados E.

Interestingly most of the late romantic  Spanish piano repertoire is more played on the guitar rather than the instende instrument

Spanish Dance No. 5 by E. Granados from PlentyMusic arranged for viola with classical guitar accompaniment sounding in the key of E minor. A violin part is appended to the full score which is available as a pdf. Guitar 2 accompaniments are available playing at 47|94|47, 50 |100|50 and 53|106|53 beats to the minute. This popular and appealing intermediate level movement dates from 1890 and its use of the phrygian scale gives it a characteristic Spanish identity. Granados (1867 - 1916) was a Catalan composer and his 12 Spanish Dances date from 1890. His music identifies so much with the sound world of Spain and he is often described as a nationalist composer. 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 original piano score is Andantino, quasi Allegretto indicating a pulse of slightly more than a walking pace with the middle section marked Andante. These markings possibly suggest the music should be played at a faster tempo than demonstrated in the realisation which plays back at a tempo of 50|100|50 beats to the minute. The first and last section are in 6/8 time whilst the Andante B section is in 3/4 time. The slowing downs at the end of phrases and the return to a tempo or tempo primo are not indicated or marked in the music score although they are an important and necessary aspect of any performance as is the use of tempo rubato. Pauses which are often introduced in a performance also are not indicated in the accompaniments and realisations. This is a great movement for instrumental players to explore tempo. Ideally the first and last section should also be played at the same tempo adding an additional performance challenge. The music can be played and given a more dance like character if some of the melodic notes are played staccato. The music editor suggests that this is an aspect of performance that can be explored although the suggestion is that playing should never be too exaggerated. The last note in the arrangement can possibly be omitted. The music editor suggests it is in place as the dominant note of the succeeding Spanish Dance No. 6. Representing the Spanish musical elements in the staff notation system is a challenge and clearly some comprises are needed particularly in respect to the notation of scales, harmonic colour, dynamics, tempo and ornamentation. The essential elements of Spanish music are its dramatic character often achieved by modal shifts from minor to major and vice versa, its use of the phrygian scale and rhythms derived from the popular dance rhythms of its diverse and rich culture. When music that identifies with a country or region is presented in a notated music score there are comprises to be made in respect to representing the musical elements. The music editor always suggests listening to performances of music to have an understanding particularly of contemporary practice. Performers should also understand that there are some ambiguities, contradictions and often errors in the available printed music scores. This is an appealing piece of music with many challenges from the performance, music setting and analysis point of view. The composer was clearly challenging the musical boundaries of his time in respect to how the music of his nation could be represented as notated music.

Serenade arr. viola & piano | Hoffstetter J.

Music has been attributed to Haydn but it actually by Hoffstetter J.

Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for viola and piano in the key of C whilst the PlentyMusic sheet music realisation plays back at 94 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 piano accompaniment that needs to imitate the pizzicato sound of the strings. There are some octave transpositions in the viola part and observant listeners will recognise that not all the ornamaments sound in the realisation. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested whilst an oboe part is 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 piano accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to  the minute. The accompaniments the violist the opportunity to practice in an ensemble context and play as part of a duet. 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. There is quite an amount of playing for the string player.

 

The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. In the video score all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) which are probably best omitted in the early stages of playing the movement.

This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency. 

  

The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested.  How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity.

 

Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue.

Serenade arr. string  quartet

Much about classical music can be learnt from this movement attributed to Haydn but actually composed by the monk Hoffstetter 

Serenade by R. Hoffstetter is a movement from a popular classical string quartet. The movement marked Andante cantabile is in the key of C whilst the PlentyMusic sheet music realisation plays back at 90 quarter note (crotchet)  beats to the minute. Improve music practice strategies by downloading this sheet music score and accompaniments from PlentyMusic. Learn to play in the context of a string quartet.

The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be  played legato with a  pizzicato strings accompaniment. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested while individual instrument parts are appended to the full score available as a pdf download from the website.

 

The repeats which are not marked in the video score do not play in the realisation or video score. mp3 string accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to  the minute. The accompaniments feature the pizzicato strings of violin 2, viola and cello and give opportunity to the violin 1 player to practice in an ensemble context and play as part of a string quartet. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments to establish the tempo. 

An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers.

 

The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas  (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. In the video score all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) whi are probably best omitted in the early stages of playing the movement.

 

This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency. 

  

The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested.  How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and  articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity.

 

Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. This score was added to the website in 2023.

Plaisir d'amour arr. violin & piano | Martini J.P.

The melody originates as a classical French love song but has been adapted in more recent times into several  pop arrangements 

This music originates as a classical French art song which has over the years has been arranged and performed in many different styles and contexts. A tempo of 43 dotted quarter notes to the the minute is used in the realisation although there a slight speeding up for the piu mosso section. There are just two ornaments which appear in the final section as a performance option. This is an excellent piece of music to explore performing music at a slow tempo as it very easy for instrumentalists to play a melody too quickly. The item has been prepared with the intention of it being played as a concert piece by someone in their second year of playing a musical instrument. I would suggest listening to a number of recordings of performances particularly by singers to gain an understanding of how music can be delivered and also understand how arrangements  can differ. A  viola part is appended to the full score whilst the small acciaccatura (crushed notes) do not sound in the realisation. Piano accompaniments t are available playing at 42|45|42, 45|48|45 and 48|52|48 dotted quarter note (crotchet) beats to the minute.

Spring Song arr. viola & piano | Mendelssohn F.

An uplifting movment literally full of all  the joys of spring

A joyous and uplifting movement both for the player and the listener. A tempo of  84 quarter note beats (crotchet) to the minute is suggested and used in the realisation. Whilst a performance should not be rushed it also mustn't drag. Listen to performances  of this work by different instrument combinations to form a musical picture of how the work should be performed. I would suggest that this an example of a piano piece that actually sounds much better played by a combination of instruments. Look for any repeating patterns in the music as an understanding of the formal patterns will assist players in their performances. In the arrangements for solo instrument with piano  accompaniment some voicing changes have been made to the piano part to aid clarity and musicianship. Acciaccaturas and in the melody line are notated in the score but are nor realised in the playback scores. Pianists need to experiment with the sustaining pedal to obtain the sound that they want - the music editor's  preference is to pedal on and off on each beat of the bar with some flexibility particularly at cadences. Piano accompaniments are available playing at 72, 76 and 80 quarter note (crotchet) beats to the minute. There is a two bar introductory click track sounding on the woodblock before the movement begins. If players need a click track added for the cadenza at bars 48-49 please advise the PlentyMusic office.

Ist Mvmt Divertimento No 3 arr. string trio | Mozart W.A.

The spirit of  classical music and particularly  the musical elements of Mozart's style is captured perfectly in this essentially 3 part movement

In this string trio arrangement for violin, viola and cello the sounding key is C.  A tempo of 132 quarter note (crotchet) beats to the minute  is used in the realisation. Individual  instruments parts are appended to the full score. This movement demonstrates the essential elements of Mozart’s compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive to style. The Divertimento (and the related Viennese Sonatinas) are relatively easy works that are well worth exploring. Accompaniments are in place enabling each of the string players to practice as part of an ensemble. They play at 128 & 132 quarter note or crotchet beats per minute and the repeats are not in place. The music editor suggests omitting the trill in the viola part in bar 26.

Galop | Can-Can arr. viola & piano | Offenbach J.

A movement that captures the joy and mischief of a dance associated with the cabaret acts of  the" Moulin Rouge"

Galop | Can-Can by J. Offenbach in an intermediate level arrangement viola with piano accompaniment in the original key of D majo. Dating from 1858 this is one of the most familiar melodies in the history of music

This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable melody.  This is a genuine performance piece to be enjoyed by both instrumentalists and audiences alike. It is very evident that Jacques Offenbach had a real gift and sense of melody and fun in making music.  Not necessarily favoured by the music critics of the time, much of his music has nevertheless remained in the repertoire. Nietzsche & Zola also commented on his operettas for those who want to discover more about the ambivalence of his status.

String players will need to pay attention to the range of articulations and dynamics needed in a performance.

Repeat signs are in place in the score whilst the realisation plays back at 120 quarter note (crotchet) beats in the introductory first section and 132 quarter (crotchet) note beats in the second.

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.

Rondeau from Sonata Concertata arr. viola & piano | Paganini N. 

An excellent performance piece with a recurring theme that has appealing musical challenges for  the performer

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

Mp3 piano accompaniment files can be downloaded from the PlentyMusic website enabling solo instrument players to enjoy an ensemble music experience. Accompaniment 1 plays at 88 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 plays at 92 dotted quarter note  (crotchet) beats to the minute and Accompaniment 3 plays at 96, Accompaniment 4 plays at 100 and  Accompaniment 5 at 104 dotted quarter note  (crotchet) beats to the minute. The accompaniments are recorded at 256 kbps which should enable them to be played through speakers in a performance context.  Please advise the PlentyMusic Office if there is any feedback on this aspect of their use.

Variations on Twinkle, Twinkle Little Star arr. viola & cello | Royle S. 

A familiar melody with 4 variations introducing violists to many of the elements of  playing music in a classical style

A familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate level arrangement for viola & cello explores classical compositional techniques in a two part texture featuring an Alberti style bass, scale runs, imitation and articulations frequently found in classical music. The arrangement is intended to be a window dressing exercise in the understanding of many aspects of classical music playing. In modern parlance this is a musical pastiche. The writing of variations was a favourite compositional approach of many composers from the classical era, particularly the main ones,  Haydn, Mozart and Beethoven. Cello accompanminents are also in place

The Swan arr. viola & piano | Saint Saens C.

From the  the Carnival of the  Animals this is one of  most  instantly recognisable melodies ever composed

Camille Saint-Saens (1835-1921) was a French composer and this beautiful movement is from The Carnival of the Animals of 1886. The melody needs to be delivered with a legato tone and because of this and the melodic range it is an excellent piece for developing the tonal aspects of playing a musical instrument. Whilst the movement is particularly associated with the cello it is suited to being played by a number of different instruments and instrument combinations. The time signature indicates that there are 6 quarter note (crotchet) beats to the bar and these should be played as two groups of three. The harmonic language is very French in character sharing a subtlety that is also found in the music of his friend and pupil, the French composer Fauré. Pedalling in the piano part has not been indicated in the scores but does need to be used and generally this is governed by the harmonic rhythm of the movement. Like many French composers Saint-Saens was a very fine organist and music commentators suggest that his music is deserving of more attention because of its quality and variety. A viola part is appended to the full score. There are four accompaniments available without a click track for the introduction as this is not required because of the one bar piano introduction. They are at tempi of 75, 72, 69 and 66 quarter note (crotchet)  beats to the minute. Please advise the PlentyMusic Office if you require accompaniments with different tempi and these will be uploaded.

Ave Maria arr. viola & piano | Schubert F.

A favourite melody from the romantic repertoire composed by one of the great melodists of music history

Ave Maria is one of the most beautiful melodies from the romantic era composed by Schubert in 1825. This intermediate level arrangement from PlentyMusic is for viola and piano. This song was composed by Schubert in 1825 as part of a song cycle based on Walter Scott’s The Lady of the Lake. Most performances that are sung nowadays make use of the text of the Latin prayer “Ave Maria.” The work is identified as Schubert’s Opus 52 No.6 D.839. As an instrumental arrangement of Ave Maria the barring has been made appropriate for instrumentalists to read.  Whilst the melody and accompaniment does sound very on the ear and suggests that it is an easy piece of music to play there are several technical and musical challenges to be overcome before Schubert's Ave Maria can be played both competently and confidently. The playback tempo in the realisation is 36 quarter note (crotchet) beats to the minute (bpm) although the music editor suggests that it is probably best to learn the movement with an awareness of an eighth note or quaver pulse. The tempo marking in Schubert’s score is Sehr langsam which means very slow. Singers do frequently take a slower tempo than instrumentalists. The tempo indication in the PlentyMusic instrumental arrangements is Largo. Whilst use of the sustaining pedal is suggested the pedal markings are only indicated in the first bar and are then hidden in the video score. Accompaniments are available as mp3 downloads from the PlentyMusic website enabling violists to enjoy an ensemble experience as part of their daily practice routine. They are available with and without repeats and play at 32, 36, and 40 quarter (crotchet) beats to the minute. They are recorded at 256kbps. The sheet music scores do have the repeats indicated so instrumentalists not playing the repeat will need to play the second ending in the score. One of the greatest challenges in music is playing a repeat simply because playing the same music again requires much greater concentration. If you play something through once logic suggests that it will be easier to play when repeated although this does not always prove to be the case. Young musicians need to be aware of this. Instrumentalists need to have a clear understanding and intention as to how the melody is to be played particularly from the rhythmic point of view. In this instance violists have the option of playing through the repeat an octave higher. The cross rhythms, dotted notes, triplet figuration and ornaments all present challenges. The melody itself needs to be played in a legato or singing style. Players need to be always conscious and aware of the triplet figuration played in the accompaniment. The ornaments are indicated with symbols in the sheet music score but are written out in the video score which can be referenced on our YouTube channel. In bars 4 and 5 the third beat melody notes can be played as quarter notes (crotchets) and the challenges of playing the short essentially ornamental notes can be added later. If you have any feedback to give about the score or require an accompaniment with a different tempo please do contact PlentyMusic either by email or LiveChat.

Minuet & Trio in E arr. viola & piano D.335

A perfect gem from a composer who is identified with the romantic period in music history

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

Minuet & Trio in E  arr. string quartet D.335 | Schubert F.

Another hidden treasure from one of the great melodists of music history

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

Minuet in A arr. viola & piano D.334 | Schubert F.

A work adding evidence to the fact  that Schubert was one of the great miniaturists in music history

The Minuet is performed without the written repeats sounding in the realisation. This is a quite enchanting movement demonstrating how much Franz Schubert related to chamber music playing. The arrangements keep close to Schubert’s original score with the falling melodic shape / motif at the end of the Minuet being a lovely challenge for performers to deliver with delicacy and musicality. It is an excellent movement for developing an understanding of musical texture from the historical period around 1820. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. One of the most challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Players should be aiming for a legato in their playing and the avoidance of any exaggerated playing. The playing challenge is to communicate the simplicity of the movement as musically as possible. Composers are often in their “best to understand” mode in what many might consider are relatively easy pieces of music to play. Simplicity is often when they are at their clearest and this can be revealing in understanding and making sense of how to play more challenging works. This work was originally composed for piano with the suggested date for the composition being 1816 establishing it as the work of a teenager! Piano accompaniments with the score repeats played, are available, over a range of tempi and are available as mp3 downloads. No pedalling is indicated in the music score although its use is appropriate. The pedalling should not be too heavy and pedal points should relate to changes in the harmony. The tempo of the minuet and the trio section is the same in the realisation. This is not always the case in Minuet and Trio playing. This is one of those hidden gems in the music repertoire that needs to played and become known by instrument players and their audiences. An ideal concert even encore movement. there are many arrangements to be discovered on the PlentyMusic website. A part for the viola is appended to the full score in the pdf download.

Minuet in A arr. string quintet D.334 | Schubert F.

A Schubert Minuet & Trio arranged for a string chamber group

The string quintet arrangement of the Minuet in A D.334 is available from PlentyMusic as a free score. The full score has appended parts and is available as a one file pdf download.The arrangement is scored for Violin 1, Violin 2, Violin 3, Viola and Cello. Schubert’s Minuet D.334 is a hidden gem of the music repertoire that needs to played and become known by instrument players and audiences. If PlentyMusic users would like the movement to be scored for any additional instruments please advise the PlentyMusic Office and one of the team will respond. The Minuet and Trio is performed without the repeats in the Minuet sounding in the video score. A quiet enchanting movement that adds evidence to the suggestion that Franz Schubert was essentially a chamber musician. The falling melodic shape / motif at the end of the Minuet is a lovely challenge for performers to deliver musically and accurately. Whilst a solo work for piano it is very evident that the musical conception could quite easily be for a group of musicians. It is an excellent movement for developing an understanding of a musical texture in the romantic era. The music editor suggests a one to the bar feel in performance. A tempo of 56 dotted half notes (minim) beats to the bar is used in the realisation. Another challenging aspect of performing this Minuet is distinguishing the notes that are tied from the ones that are slurred. Individual instrument parts transposed where appropriate are appended to the full score in the pdf download. % accompaniments are in place each featuring one missing instrument of the quintet. They all play at 168bpm or 36 one to a bar bpm.

Traümerie (Dreaming) arr. viola & piano | Schumann R.

A reflective slow movement from a composer who is one of the most representative composers of the romantic period

Traümerie (Dreaming) was originally  a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine  the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity  to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured.

Valse Sentimentale arr. viola & piano | Tchaikovsky P.I.

Tchaikovsky  as a composer more than any other is able to explore the complete  range of human emotion from the most sad to the happiest. This is a wistful melancholy movement.

An intermediate level arrangement for viola and piano of a shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6.  In this cut down arrangement  an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. 

Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds.

As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 40 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance.  The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. 

Piano accompaniments are available playing at 40, 42, 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes in the accompaniment are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the very saddest moments probably better than anybody else.

Valse Sentimentale arr. viola & classical guitar | Tchaikovsky P.I.

Tchaikovsky  excelling as a melodist with this wistful often melancholy waltz

An intermediate level arrangement for viola and classical guitar of a shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6.  In this cut down encore arrangement an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. 

Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds.

As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo of the realisation is 40 dotted half notes (minim) beats to the minute. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance.  The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. 

Guitar accompaniments are available playing at  40, 42 & 44  beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. The bracketed notes in the accompaniment are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the very saddest moments probably better than anybody else.

Neapolitan Song arr. viola & piano | Tchaikovsky P.I.

An uplifting melody from the composer's famous ballet "Swan Lake"

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

October (Autumn Song) arr. viola & piano | Tchaikovsky P.I.

A hauntingly beautiful arrangement of a slow tempo work from the composers "The Seasons"

October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly shouldn’t have the same context with modern instruments. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally.  Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music.  The pause mark is also not well represented in the recording as it really needs to be longer whilst the small notes do not sound in the playback the recording. The editor suggests listening to many of the excellent performances of this work. A viola part is appended to the full score. Piano accompaniments are available at tempi of (1) 63 (2) 60 (3) 58 quarter note (crotchet) beats to the minute. If an accompaniment is required with a click track in place for the cadenza section in bars 32 – 33 please advise the PlentyMusic office.