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Four Bach Inventions
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Vous avez sélectionné:
Four Bach Inventions
Partitions à imprimer
24 partitions trouvées
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1
Bach: Four Duets for Violin & Cello
Bach: Four Duets for Violin & Cello
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Violon, Violoncelle (duo)
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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James M
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Bach: Four Duets for Violin &a
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jmsgu3
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SheetMusicPlus
Cello,Instrumental Duet,Violin - Level 3 - SKU: A0.551042 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Christmas,East...
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Cello,Instrumental Duet,Violin - Level 3 - SKU: A0.551042 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Christmas,Easter,Wedding. 36 pages. Jmsgu3 #4979267. Published by jmsgu3 (A0.551042). Bach's Duets BWV 802-805 are significant works written for two equal parts, similar to his earlier two-part inventions. These charming short pieces showcase Bach's mastery of counterpoint and are musically more complex than the Two-Part Inventions. They are also known for their clear imitation between the hands, and their purpose was most likely to take two-part counterpoint to the max. Bach included these four pieces in Part III of the Clavierübung (1739), which chiefly contained works for the organ, highlighting their importance in his repertoire. The duets are revered for their musical complexity and precise imitation between the parts, making them significant contributions to the genre of two-part counterpoint.
$38.95 ≈
36.35€
Double Reed Quintet - Four Three-Part Inventions BWV 788, BWV 792, BWV 794 and BWV 799
Double Reed Quintet - Four Three-Part Inventions BWV 788, BWV 792, BWV 794 and BWV 799
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Classique
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J S
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Mike Lyons
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Double Reed Quintet - Four Thr
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Lyons Music Services
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Oboe - Level 3 - SKU: A0.767508 Composed by J S. Bach. Arranged by Mike Lyons. Baroque. 38 pages. Lyons Music...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Oboe - Level 3 - SKU: A0.767508 Composed by J S. Bach. Arranged by Mike Lyons. Baroque. 38 pages. Lyons Music Services #4804169. Published by Lyons Music Services (A0.767508). A collection of four short Three-Part Inventions by Johann Sebastian Bach. Some of these will be well known to many through their use as piano teaching materials and their popularity with concert pianists. here's a fresh look at them through the lens of the Double Reed Quintet.
$10.99 ≈
10.26€
Heinrich Schenker - Four Two Voice Inventions, op. 5
Heinrich Schenker - Four Two Voice Inventions, op. 5
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Piano seul
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Contemporain
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Heinrich Schenker
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Benjamin Ayotte
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Heinrich Schenker - Four Two V
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Ayotte Custom Musical Engravings
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SheetMusicPlus
Piano Solo - SKU: A0.733166 Composed by Heinrich Schenker (1868-1935). Arranged by Benjamin Ayotte. 20th Century. Score. 10 pages. Ayotte Custom Musical...
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Piano Solo - SKU: A0.733166 Composed by Heinrich Schenker (1868-1935). Arranged by Benjamin Ayotte. 20th Century. Score. 10 pages. Ayotte Custom Musical Engravings #3424921. Published by Ayotte Custom Musical Engravings (A0.733166). Schenker is known to have sent Julius Röntgen a copy of his Zweistimmige Inventionen. He seems to have been particularly fond on no. 2 of the set of four. He wrote to Röntgen on 13 April 1901, I hope that Invention No. 2, of which I am very proud, interests you. It is indeed rather quick-I mean passionate, deliberate, very expressive! It is here, primarily, where I’ve breached modernism. It would make me very happy if this invention pleased you. Patrick Miller offers this assessment of these works vis-à-vis Scheker’s other published output:The four pieces in this set seemingly mark a departure from the dense harmonic and rhythmic textures of Schenker’s previously published piano compositions. The intricate melodic lines of these pieces, however, imply a texture rich with harmonic and rhythmic details. … The first invention is a delicate chromatic study, while the second invention is an intense chromatic piece based on the B–A–C–H motive, Bb–A–C–B. With regard to thematic material and texture, the third invention is the most transparent of the set and is an exacting study in finger articulation. The fourth invention is a canon and, according to a printed footnote, is ‘a study after JS Bach’s Invention no. 2 (C minor) .
$29.99 ≈
27.99€
Brass Quintet - Four 3-Part Inventions
Brass Quintet - Four 3-Part Inventions
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Mike Lyons
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Brass Quintet - Four 3-Part In
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble - Level 5 - SKU: A0.767054 Composed by Johann Sebastian Bach. Arranged by Mike Lyons. Baroque,World. Score and parts. 50 pages. Lyons Mus...
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Brass Ensemble - Level 5 - SKU: A0.767054 Composed by Johann Sebastian Bach. Arranged by Mike Lyons. Baroque,World. Score and parts. 50 pages. Lyons Music Services #56001. Published by Lyons Music Services (A0.767054). These four pieces will be familiar to many people as they have been arranged many times. Although they are 3-part inventions, it needed a brass quintet to cover all of the parts. These are a great addition to any quintet programme and their familiarity will make them appeal to audiences. Parts are included for: Part 1 in Bb Part 2 in Bb Part 3 in F, Eb, Bb Part 4 in Bb, C (bass clef) Part 5 in Bb, Eb, C (Bass Clef) other parts/transpositions are available on request, free of charge.
$8.99 ≈
8.39€
Bach - Four Duets for Two Trombones BWV 802-805
Bach - Four Duets for Two Trombones BWV 802-805
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2 Trombones (duo)
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AVANCÉ
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Bach, J
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Sauer, Ralph
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Bach - Four Duets for Two Trom
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Gordon Cherry
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SheetMusicPlus
Trombone Duet Trombone - Level 5 - SKU: A0.792280 Composed by Bach, J. S. Arranged by Sauer, Ralph. Baroque,Classical,Renaissance. Score. 36 pages. Gord...
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Trombone Duet Trombone - Level 5 - SKU: A0.792280 Composed by Bach, J. S. Arranged by Sauer, Ralph. Baroque,Classical,Renaissance. Score. 36 pages. Gordon Cherry #4803805. Published by Gordon Cherry (A0.792280). The Four Duets, BWV 802-805 are part of a larger collection, the Clavier-übung III sometimes called the German Organ Mass. They were first published in 1739, mostly likely intended to be performed on the organ, as they have a range from C2 to C6; playable on almost any organ from that era. However, they could have been performed on any keyboard of the time. Musically they are more complex than the Two Part Inventions, and their purpose was most likely to take two-part counterpoint to the max. • Fugue 1 is a double fugue in E minor • Fugue 2 is a fugue in F major written as a da capo aria (ABA) • Fugue 3 in G major is light and dance-like • Fugue 4 in A minor is a fugue in strict counterpoint Ralph Sauer has once again done an extraordinary job of finding great music for our instrument and transcribing it in the most beautiful way possible. Appropriate for advanced performers. Each player has their own part as well as a study score. The 2nd part may be performed on a tenor with f-attachment or a bass trombone.
$17.50 ≈
16.33€
Invention in D# Phrygian from 9 Modal Inventions
Invention in D# Phrygian from 9 Modal Inventions
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Clavecin
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INTERMÉDIAIRE/AVANCÉ
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Michael Bomier
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Invention in D# Phrygian from
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Michael Butkus-Bomier
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SheetMusicPlus
Harpsichord - Level 4 - SKU: A0.862496 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 2 pages. Michael Butkus-Bomier #2031811....
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Harpsichord - Level 4 - SKU: A0.862496 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 2 pages. Michael Butkus-Bomier #2031811. Published by Michael Butkus-Bomier (A0.862496). D# Phrygian is all five sharps, and the white keys E and B. Not as scary as it appears! This piece has what is, in effect, a one-measure subject, and a one-measure countersubject. They play against each other for most of the piece, emphasizing various pitches, until they come together, as each one is played in both voices, and the piece concludes with some nice contrary motion on the main subject. Articulation and the four quarter-notes of the countersubject give the piece a stately but not too somber mood. Bach liked Eb minor better, but I picked sharps for my own edification, as I am quite used to flats. MBB.
$1.99 ≈
1.86€
Four Bach Inventions
Four Bach Inventions
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2 Clarinettes (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Lori Archer Sutherland
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Four Bach Inventions
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Lori Archer Sutherland
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SheetMusicPlus
Composed by Johann Sebastian Bach (1685-1750). Arranged by Lori Archer Sutherland. For Clarinet, Bass Clarinet. Baroque Period. Advanced Intermediate. , Score. ...
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Composed by Johann Sebastian Bach (1685-1750). Arranged by Lori Archer Sutherland. For Clarinet, Bass Clarinet. Baroque Period. Advanced Intermediate. , Score. Lori Archer Sutherland #LAS-2010-07. Published by Lori Archer Sutherland
$12.00 ≈
11.20€
For Elizabeth
For Elizabeth
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Piano seul
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INTERMÉDIAIRE
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Classique
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Jonathan David Whitcomb
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For Elizabeth
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Whitcomb Music
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1250575 Composed by Jonathan David Whitcomb. Baroque,Classical. Score. 2 pages. Whitcomb Music #844857. Published by Whit...
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Piano Solo - Level 3 - SKU: A0.1250575 Composed by Jonathan David Whitcomb. Baroque,Classical. Score. 2 pages. Whitcomb Music #844857. Published by Whitcomb Music (A0.1250575). This piano piece brings to mind the pure counterpoint of the two-part inventions of Johann Sebastian Bach but with a unique harmonic style that differs from the harmony of that Baroque composer yet feels similar. In spite of that difference, it may sound, to the ears of many listeners, like a new discovery: another little keyboard invention by Bach. For those with more refined ear, For Elizabeth may seem like a piece of the soul of Bach's keyboard works . . . minus the old wig.Bach's clear dominant and subdominant harmony is absent, replaced with a four-note chord (or arpeggio) that takes the place of both dominant and subdominant. For many persons, however, it may sound like another Bach two-part invention.It could be termed an exercize in arpeggios, yet it can be delightful to master: a refreshing change for those who've enjoyed Bach's keyboard inventions or a potential delight for those who have never encountered those pieces by the Baroque master.This is NOT an arrangement of a piece by Bach but a 21st century composition by Jonathan David Whitcomb.Two pages.
$3.50 ≈
3.27€
21 Baroque brass duets for treble clef instruments
21 Baroque brass duets for treble clef instruments
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Ensemble de cuivres
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INTERMÉDIAIRE
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Rameau
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21 Baroque brass duets for tre
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Darren Lloyd
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.855730 Arranged by Alessandro Scarlatti, Arcangelo Corelli, George Frideric Handel, Henry Purcell, Johann Sebastian B...
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Brass Ensemble - Level 3 - SKU: A0.855730 Arranged by Alessandro Scarlatti, Arcangelo Corelli, George Frideric Handel, Henry Purcell, Johann Sebastian Bach, Scholze & Rameau, and Snow. Baroque,Concert,Graduation,Instructional. Score and parts. 33 pages. Darren Lloyd #3393903. Published by Darren Lloyd (A0.855730). The book consists of Baroque keyboard pieces arranged for two Cellos. Composers include - J S Bach, Purcell, Handel, Corelli, Scarlatti, Snow, Scholze & Rameau. Four duets are from Bach's 'Little notebook' and five are taken from Bach's 'Inventions for keyboard' the numbers are 1, 3, 8, 10 & 15.The duets are aimed at the intermediate through to advanced player.
$9.99 ≈
9.32€
21 Baroque duets for 2 Violins
21 Baroque duets for 2 Violins
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2 Violons (duo)
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INTERMÉDIAIRE/AVANCÉ
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Alessandro Scarlatti, Arcangel
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Darren Lloyd
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Rameau
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21 Baroque duets for 2 Violins
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Darren Lloyd
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SheetMusicPlus
Violin Duet Violin - Level 4 - SKU: A0.855729 Composed by Alessandro Scarlatti, Arcangelo Corelli, George Frideric Handel, Henry Purcell, Johann Sebasti...
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Violin Duet Violin - Level 4 - SKU: A0.855729 Composed by Alessandro Scarlatti, Arcangelo Corelli, George Frideric Handel, Henry Purcell, Johann Sebastian Bach, Scholze & Rameau, and Snow. Arranged by Darren Lloyd. Baroque,Concert,Graduation,Instructional. 33 pages. Darren Lloyd #3393901. Published by Darren Lloyd (A0.855729). The book consists of Baroque keyboard pieces arranged for two Violins. Composers include - J S Bach, Purcell, Handel, Corelli, Scarlatti, Snow, Scholze & Rameau. Four duets are from Bach's 'Little notebook' and five are taken from Bach's 'Inventions for keyboard' the numbers are 1, 3, 8, 10 & 15.The duets are aimed at the intermediate through to advanced player.
$9.99 ≈
9.32€
21 Baroque dues for 2 Flutes
21 Baroque dues for 2 Flutes
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2 Flûtes traversières (duo)
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INTERMÉDIAIRE/AVANCÉ
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Alessandro Scarlatti, Arcangel
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Pott Shrigley Press
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Rameau
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21 Baroque dues for 2 Flutes
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Darren Lloyd
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SheetMusicPlus
Flute Duet Flute - Level 4 - SKU: A0.855883 Composed by Alessandro Scarlatti, Arcangelo Corelli, George Frideric Handel, Henry Purcell, Johann Sebastian...
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Flute Duet Flute - Level 4 - SKU: A0.855883 Composed by Alessandro Scarlatti, Arcangelo Corelli, George Frideric Handel, Henry Purcell, Johann Sebastian Bach, Scholze & RameauDarren Lloyd, and Snow. Arranged by Pott Shrigley Press. Baroque,Concert,Instructional. Score. 62 pages. Darren Lloyd #3664093. Published by Darren Lloyd (A0.855883). The book consists of Baroque keyboard pieces arranged for two Flutes. Composers include - J S Bach, Purcell, Handel, Corelli, Scarlatti, Snow, Scholze & Rameau. Four duets are from Bach's 'Little notebook' and five are taken from Bach's 'Inventions for keyboard' the numbers are 1, 3, 8, 10 & 15.The duets are aimed at the intermediate through to advanced player.
$9.99 ≈
9.32€
21 Baroque duets for 2 Viola's
21 Baroque duets for 2 Viola's
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2 Altos (duo)
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INTERMÉDIAIRE/AVANCÉ
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Alessandro Scarlatti, Arcangel
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Darren Lloyd
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Rameau
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21 Baroque duets for 2 Viola's
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Darren Lloyd
#
SheetMusicPlus
Viola Duet Viola - Level 4 - SKU: A0.855884 Composed by Alessandro Scarlatti, Arcangelo Corelli, George Frideric Handel, Henry Purcell, Johann Sebastian...
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Viola Duet Viola - Level 4 - SKU: A0.855884 Composed by Alessandro Scarlatti, Arcangelo Corelli, George Frideric Handel, Henry Purcell, Johann Sebastian Bach, Scholze & Rameau, and Snow. Arranged by Darren Lloyd. Baroque,Concert,Instructional. Score. 32 pages. Darren Lloyd #3664097. Published by Darren Lloyd (A0.855884). The book consists of Baroque keyboard pieces arranged for two Violas. Composers include - J S Bach, Purcell, Handel, Corelli, Scarlatti, Snow, Scholze & Rameau. Four duets are from Bach's 'Little notebook' and five are taken from Bach's 'Inventions for keyboard' the numbers are 1, 3, 8, 10 & 15.The duets are aimed at the intermediate through to advanced player.
$9.99 ≈
9.32€
Bassoon duets - 21 Baroque
Bassoon duets - 21 Baroque
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2 Bassons (duo)
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Alessandro Scarlatti, Arcangel
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Darren Lloyd
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Rameau
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Bassoon duets - 21 Baroque
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Darren Lloyd
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SheetMusicPlus
Instrumental Duet Bassoon,Instrumental Duet - SKU: A0.855919 Composed by Alessandro Scarlatti, Arcangelo Corelli, George Frideric Handel, Henry Purcell,...
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Instrumental Duet Bassoon,Instrumental Duet - SKU: A0.855919 Composed by Alessandro Scarlatti, Arcangelo Corelli, George Frideric Handel, Henry Purcell, Johann Sebastian Bach, Scholze & Rameau, and Snow. Arranged by Darren Lloyd. Baroque,Concert,Instructional. Score and parts. 32 pages. Darren Lloyd #4355477. Published by Darren Lloyd (A0.855919). The book consists of Baroque keyboard pieces arranged for two Bassoons. Composers include - J S Bach, Purcell, Handel, Corelli, Scarlatti, Snow, Scholze & Rameau. Four duets are from Bach's 'Little notebook' and five are taken from Bach's 'Inventions for keyboard' the numbers are 1, 3, 8, 10 & 15.The duets are aimed at the intermediate through to advanced player.
$9.99 ≈
9.32€
Two-Part Invention No. 10
Two-Part Invention No. 10
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2 Clarinettes (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Lori Archer Sutherland
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Two-Part Invention No. 10
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Lori Archer Sutherland
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SheetMusicPlus
Clarinet Duet Bass Clarinet - Level 4 - SKU: A0.764936 Composed by Johann Sebastian Bach. Arranged by Lori Archer Sutherland. Baroque,Standards. 2 score...
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Clarinet Duet Bass Clarinet - Level 4 - SKU: A0.764936 Composed by Johann Sebastian Bach. Arranged by Lori Archer Sutherland. Baroque,Standards. 2 scores. 5 pages. Lori Archer Sutherland #3927193. Published by Lori Archer Sutherland (A0.764936). Two copies of the score are included. Originally composed for keyboard, Bach’s two-part invention is available here for clarinet and bass clarinet duet. Low C bass is preferred, with optional notes for those with low E-flat instruments. Also offered as a set of four inventions.
$6.00 ≈
5.60€
Two-Part Invention No. 14
Two-Part Invention No. 14
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2 Clarinettes (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
#
Johann Sebastian Bach
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Lori Archer Sutherland
#
Two-Part Invention No. 14
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Lori Archer Sutherland
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SheetMusicPlus
Instrumental Duet B-Flat Clarinet,Bass Clarinet,Instrumental Duet - Level 4 - SKU: A0.765700 Composed by Johann Sebastian Bach. Arranged by Lori Archer ...
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Instrumental Duet B-Flat Clarinet,Bass Clarinet,Instrumental Duet - Level 4 - SKU: A0.765700 Composed by Johann Sebastian Bach. Arranged by Lori Archer Sutherland. Baroque,Standards. Score and parts. 5 pages. Lori Archer Sutherland #3927201. Published by Lori Archer Sutherland (A0.765700). Two copies of the score are included. Originally composed for keyboard, Bach’s two-part invention is available here for clarinet and bass clarinet duet. Low C bass is preferred, with optional notes for those with low E-flat instruments. Also offered as a set of four inventions.
$6.00 ≈
5.60€
Two-Part Invention No. 8
Two-Part Invention No. 8
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2 Clarinettes (duo)
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INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Johann Sebastian Bach
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Lori Archer Sutherland
#
Two-Part Invention No. 8
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Lori Archer Sutherland
#
SheetMusicPlus
Clarinet Duet Bass Clarinet - Level 4 - SKU: A0.764932 Composed by Johann Sebastian Bach. Arranged by Lori Archer Sutherland. Baroque,Standards. 2 score...
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Clarinet Duet Bass Clarinet - Level 4 - SKU: A0.764932 Composed by Johann Sebastian Bach. Arranged by Lori Archer Sutherland. Baroque,Standards. 2 scores. 7 pages. Lori Archer Sutherland #3927183. Published by Lori Archer Sutherland (A0.764932). Two copies of the score are included. Originally composed for keyboard, Bach’s two-part invention is available here for clarinet and bass clarinet duet. Low C bass is preferred, with optional notes for those with low E-flat instruments. Also offered as a set of four inventions.
$6.00 ≈
5.60€
Two-Part Invention No. 13
Two-Part Invention No. 13
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2 Clarinettes (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Lori Archer Sutherland
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Two-Part Invention No. 13
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Lori Archer Sutherland
#
SheetMusicPlus
Clarinet Duet Bass Clarinet - Level 4 - SKU: A0.764935 Composed by Johann Sebastian Bach. Arranged by Lori Archer Sutherland. Baroque,Standards. 2 score...
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Clarinet Duet Bass Clarinet - Level 4 - SKU: A0.764935 Composed by Johann Sebastian Bach. Arranged by Lori Archer Sutherland. Baroque,Standards. 2 scores. 7 pages. Lori Archer Sutherland #3927197. Published by Lori Archer Sutherland (A0.764935). Two copies of the score are included. Originally composed for keyboard, Bach’s two-part invention is available here for clarinet and bass clarinet duet. Low C bass is preferred, with optional notes for those with low E-flat instruments. Also offered as a set of four inventions.
$6.00 ≈
5.60€
Invention No. 4, arranged for duet: instruments in Eb and Bb
Invention No. 4, - duet: instruments in Eb and Bb
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Classique
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Johann Sebastian Bach
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Paul Burnell
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Invention No. 4, - duet: instr
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Paul Burnell
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SheetMusicPlus
Small Ensemble Alto Saxophone,Euphonium,Tenor Saxophone - Level 4 - SKU: A0.835885 Composed by Johann Sebastian Bach. Arranged by Paul Burnell. Baroque....
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Small Ensemble Alto Saxophone,Euphonium,Tenor Saxophone - Level 4 - SKU: A0.835885 Composed by Johann Sebastian Bach. Arranged by Paul Burnell. Baroque. Score and parts. 6 pages. Paul Burnell #6498457. Published by Paul Burnell (A0.835885). Invention No. 4, Johann Sebastian Bach, arranged by Paul Burnell for Duet - instrument in Eb, instrument in BbDuration 1:30Part 1 in Eb (Alto Clarinet, Alto Saxophone, Tenor Horn)Part 2 in Bb (Bass Clarinet, Tenor Saxophone, Euphonium)The arrangement may be suitable for other instruments with the same transpositions.Score shows parts transposed.The original manuscript score does not contain slurs, mordents, dynamics or tempo markings. Performers may prefer to perform all the notes tongued and at any convenient tempo or dynamicThis arrangement has been transposed from the original key of D Minor and certain notes in Part 2 part have been further transposed at the octave.Programme note:The Inventions and Sinfonias, also known as the Two- and Three-Part Inventions, are a collection of thirty short keyboard pieces by German composer Johann Sebastian Bach (1685–1750). The original manuscript is dated 1723. They were first written as 'Praeambula' and 'Fantasiae' in a collection for his son Wilhelm Friedemann Bach, and later rewritten as musical exercises for his students. The fourth Invention (BWV 775) is in D Minor, but the key has been transposed for this duet arrangement.
$1.99 ≈
1.86€
TELEMANN: TRIO IN E MINOR TWV 43:e2 for flute, clarinet & bassoon or cello
TELEMANN: TRIO IN E MINOR TWV 43:e2 for flute, clarinet & bassoon or cello
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1733 the use of the continuo p
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Georg Philipp Telemann
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Pat Spence
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TELEMANN: TRIO IN E MINOR TWV
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Piper Publications
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SheetMusicPlus
Small Ensemble Bassoon,Cello,Clarinet,Flute - Level 4 - SKU: A0.811819 Composed by Georg Philipp Telemann (1681 - 1767). Arranged by Pat Spence. Baroque...
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Small Ensemble Bassoon,Cello,Clarinet,Flute - Level 4 - SKU: A0.811819 Composed by Georg Philipp Telemann (1681 - 1767). Arranged by Pat Spence. Baroque,Concert,Graduation,Holiday,Wedding. Score and parts. 36 pages. Piper Publications #6536333. Published by Piper Publications (A0.811819). This Trio Sonata was published in Hamburg by Telemann in 1733 in the third volume of his Tafelmusik. The original was scored for flute, violin, cello and continuo. By 1733 the use of the continuo playing from a figured bass supported by a cello was falling out of use. In this piece, the use of the cello as a solo instrument effectively made the inclusion of the continuo redundant. In making this arrangement for flute, clarinet & bassoon or cello I have not included the continuo. Without the continuo, the Trio - still firmly entrenched in the Baroque style - closely resembles the three part Inventions of Telemann’s contemporary, J. S. Bach or the three part flute sonatas in Eb and G minor originally attributed to him but now considered to be the work of his son C.P.E. Bach. A set of 6 Quatuors ou Trios by Telemann clearly makes the continuo part optional. The arrangement is edited so that the style is true to the original. All edited phrasings (generally more suited to wind instruments) are shown using dashed lines. Telemann did not indicate any dynamics and none have been added. It is notable that Telemann developed his musical material throughout each movement and there are no repeated sections in this piece. There are four movements, Adagio, Allegro, Dolce and Allegro. The three parts are intended for players of equal accomplishment to delight their audiences.
$15.00 ≈
14.00€
Inventio No. 4 d minor / Invention Nr. 4 d-moll BWV 775 Jazz Waltz
Inventio No. 4 d minor / Invention Nr. 4 d-moll BWV 775 Jazz Waltz
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Classique
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Johann Sebastian Bach
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Inventio No. 4 d minor / Inven
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Uwe Roessler
#
SheetMusicPlus
Piano Quintet Cello,Double Bass,Piano,Violin - Level 4 - SKU: A0.1225675 Composed by Johann Sebastian Bach. Arranged by Uwe Rössler Roessler Rassler. B...
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Piano Quintet Cello,Double Bass,Piano,Violin - Level 4 - SKU: A0.1225675 Composed by Johann Sebastian Bach. Arranged by Uwe Rössler Roessler Rassler. Baroque,Instructional,Jazz,Praise & Worship,Wedding. 13 pages. Uwe Roessler #821745. Published by Uwe Roessler (A0.1225675). Inspired by the wonderful rendition by The Classical Jazz Quartet (hence the videoi link): our version of the fourth of Bach´s Two-Part Inventions.Comes with full score and all individual parts. Professional sheet material!
$20.00 ≈
18.67€
Chorus and Aria from Ariadne auf Naxos
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00 ≈
6.53€
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00 ≈
6.53€
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
#
Classique
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00 ≈
6.53€
Overture from Ariadne auf Naxos
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxo
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
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Four Bach Inventions
