Sheet music

Pergolesi/Magatagan/BSG: Stabat Mater Dolorosa quartet

4 parts3 pages04:463 years ago1,858 views
Violin(2), Viola, Cello
Perhaps this is supremely arrogant. Starting from Mike Magatagan's beautiful string quartet arrangement (, I crafted my own, which does not really pretend to be a "correction" of Mike's work, but of Pergolesi's. Going through Mike's arrangement, I found that the majority of details I found I could not abide were not Mike's, but Pergolesi's, in particular, vast passages of no-thought viola "writing" simply doubling the bass, which happens throughout the Stabat Mater ("col basso" often appears in a 1749 score on IMSLP), and occasionally the viola just flops submissively into the bass. This betrays more than the usual quantum of arrogance, for not only am I "improving" one of the best-loved movements of the Baroque, then and now (Jean-Jacques Rousseau called it "the most perfect and touching duet by any composer" [Wikipedia]), but I am also dealing with a previous attempt to do so by a certain Herr Bach, the cantor of St. Thomas' in Leipzig, who rewrote this masterpiece on the basis of similar objections. Oddly, this Herr Bach did very, very little to the first movement (BWV 1083), and left it pretty much as Pergolesi had it; in other movements, he slashed away and added all kinds of interest. But not in the iconic first movement. So I have taken the arrogant liberty of "finishing" his work by the wholesale rewrite of the viola part with new thematic and harmonic material. It is humbling to think that even the greatest Baroque composers other than Bach were all rough approximations to Bach (even if they didn't know it). In the work as I have left it today (7 May 2015), I have essentially added a third actor to the given screenplay, to the canonic duo of suspension ("dum pendebat"?) chains (first stated in the upper parts in mm. 1-5), and the walking bass, adding a viola dolorosa lamenting in poignant "sighing" figures (sospiri), adding suspended sevenths and fourths and appoggiature to complement Pergolesi's sparse rhythm and harmony. I have exploited (and added) figures in the upper parts, importing them into the viola at other times and intervals, all the tighter to bind the whole. See what you think. ----------------- "Tech notes" Pergolesi’s original calls for two vocal parts (performances differ on whether they be soli or chori) in addition to the strings; his two violins double the vocal parts when the latter sing; the texture is basically a trio, and the viola is like a third wheel, which he occasionally commits to doubling the bass for measures at a stretch, and other times commits to half-note riffs strewn with questionable doublings and barely hidden fifths (the latter I have left alone). In Mike’s quartet texture, the viola is more exposed and cannot duck responsibility as in Pergolesi’s, and to this end I have written the present active part. Students of canon will realize that the famous chain of 3-2 suspensions and jumps of upward fourths which opens the movement is actually a canon at the second (cf., the “Recordare” from Mozart’s “Requiem”). I have generally left the two violins/soli alone, but for correcting some bad doubling in m. 21, reorganizing 31 and 42 for a better viola part (and eliminating spurious doublings), and, notably, supplying mm. 14-15 with an anticipation and “explaining” appoggiature to remedy what I considered an unacceptable tritone (Bb->E upward) in Pergolesi’s score, meanwhile promoting the canon with parallel dissonance resolutions for a very Bachian effect. I rewrote the double-counterpoint in 19-21 to be correct, restoring Pergolesi's theme and countermelody and adding some gratuitous rhythmic interest. [5/5/2015 - I restored Pergolesi's bass rhythms, inserted strategic eighth-rests in the viola part to complement the former, borrowed Mike's superlative Bb-Ab trill for m.17, all'8va, and added a bit more. I added complexity to P's half-note viola riffs to mitigate the hidden fifths, and add more opportunities for motivic imitation).

JSB/Mike Magatagan/BSG: Schafe können sicher weiden (BWV 208.9)

4 parts5 pages06:243 years ago904 views
Violin(2), Viola, Cello
This is my rewrite of Mike Magatagan's string quartet arrangement of the famous aria of safely grazing sheep from the Hunting Cantata, BWV 208. Mike has graciously allowed me to correct and enhance his work. My goals here are multiple: to help Mike learn Bachian counterpoint, to enjoy myself, and to post what is now my own work, too; perhaps others can learn. I followed certain ground rules: I did not look at Bach's original--I fixed up Mike's work, not Bach's work. I kept the bass line and violin 1 as Mike had them; I more or less gutted the second violin and added my own, and rewrote the viola heavily. A few times I left entire measures intact (as it were). The technical goals of the rewrite were primarily to fix various sorts of large and small contrapuntal errors; the largest ones were Mike simply duplicating Violin 1 or Viola in violin 2 for a half a measure at a time, and there were ubiquitous unison and octave duplicate gestures, which I remedied, often with simple long notes. There were many missed opportunities for vacant contrapuntal space (resulting in overcrowding!) which I exploited, particularly adding classic suspensions and classic resolutions of 6-4-2's, and enhanced awareness of JSB's beloved half-diminished sevenths (6 5 flat). A second goal was to add interest to the composition over and above what both Bach and Mike had: spicing it with imitations of the recorder head motif, the vocal head motif, and new secondary motifs contributing to measure-by-measure sequences. At one point, mm 12-15, perhaps a bit too ostentatious, where Mike had silence, I was able to supply a canon at the seventh. I even disconnected parallel-sixth head-motif passages from Bach in order to construct a more interesting four-voice texture (Bach's original was basically three-voiced). I strove to keep as much of Mike's architecture and detail as possible, unless I had something sufficiently better to say. There may still be "bugs" unfixed, or even new ones I introduced. Fortunately, this site facilitates score revisions without corrupting dates/stats, etc. There is a huge echo of the texture of the eponymous opening aria of BWV 54, "Widerstehe doch der Sünde" hovering about. Mike and others, enjoy/compare. Mike's original is .
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Bach/Magatagan (continuo by BSG): Ihr Kleingläubigen (BWV 81, #4)

3 parts2 pages01:262 years ago304 views
Viola, Other woodwinds, Cello
Continuo realization added to Mike Magatigan's (unmodified) viola/cello arrangement of the bass arioso from BWV 81 "Ihr Kleinglåubigen, warum seid ihr so furchtsam?" ( . With Mike's kind permission and encouragement, I have added Bach's original figures (from the Bachgesellschaft Ausgabe, on IMSLP) and realized them for MS's Panflötenkammerorgel, shifting the mood ever so slightly back from "sonata di camera" to "sonata di chiesa". I have followed Bach's figuring, er, religiously, only occasionally introducing passing-tones. The little dactyl ("BAAMP-dada") figures in the continuo in contrary motion to those in the bass, effectively exchanging voices (e.g., C# and A#), are a standard technique to avoid parallel motions on both sides of their beat, and add a great deal of interest (so I added a couple other than in that context, to promote motivic integrity). Note that while continuo realizations are required to operate in mutual "credible" counterpoint with their bass, they are not considered "three more voices to the composition increasing its voice-complexity by three", but are freely allowed to double (occasionally), even to highlight, obbligato voices gestures, as do JSB cantata instrumental parts (which can also double continuously). Although Mike's 81/4 works just fine as chamber music, the authentic sound of this type of movement requires a stylistically appropriate continuo as I provide here. Skilled continuo improvisers (e.g., the Man himself) were reputed to play continuo parts that sounded like composed concerti (not de facto ensemblewise appropriate, IMO). While realizing this continuo, I felt Bach's guiding hand insofar as any "problem" I had ("where will this voice go? where will this voice come from?") was always answered by careful thought about the surrounding figures, evidence that Bach thought about the harmony and counterpoint as a whole, even in a two-voiced movement, further evidence of what all the books tell us, that we must imagine and explain the harmony in our head even when composing in two voices. It figures. I have analyzed the abundant internal references by imitation at all pitches in this wonderful short composition here

"Entry of the Gladiators" (Thunder & Blazes) for Piano

1 part6 pages03:086 years ago34,325 views
Julius Fučík (pronounced "Foo-chick") was a Czech composer who lived from 1872 – 1916 and was a conductor of military bands. Today his marches are still played as patriotic music in the Czech Republic. However, his worldwide reputation rests on this one work: the Opus 68 march, the Entrance of the Gladiators (Vjezd gladiátorů), which is universally recognized, often under the title "Thunder and Blazes", as one of the most popular theme tunes for circus clowns. "Entrance of the Gladiators" or "Entry of the Gladiators" was originally titled it "Grande Marche Chromatique," reflecting the use of chromatic scales throughout the piece, but changed the title based on his personal interest in the Roman Empire. The piece is a little longer than this but the rest is not so familiar to most people. Although originally created for band, this arrangement is for the acoustic grand piano and It is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

Baroque Trill Styles Chart

1 part2 pages00:366 years ago28,208 views
The trill (or shake, as it was known from the 16th until the 19th century) is a musical ornament consisting of a rapid alternation between two adjacent notes, usually a semitone or tone apart, which can be identified with the context of the trill. It is sometimes referred to by the German triller, the Italian trillo, the French trille or the Spanish trino. A cadential trill is a trill associated with a cadence. In the baroque period, a number of signs indicating specific patterns with which a trill should be begun or ended were used. In the Klavierbüchlein für Wilhelm Friedemann Bach, Johann Sebastian Bach lists a number of these signs together with the correct way to interpret them. Unless one of these specific signs is indicated, the details of how to play the trill are up to the performer. In general, however, trills in this period are executed beginning on the auxiliary note, before the written note, often producing the effect of a harmonic suspension which resolves to the principal note. But, if the note preceding the ornamented note is itself one scale degree above the principal note, then the dissonant note has already been stated, and the trill typically starts on the principal note. Several trill symbols and techniques common in the Baroque and early Classical period have fallen entirely out of use, including for instance the brief Pralltriller, represented by a very brief wavy line, referred to by Carl Philipp Emanuel Bach in his Essay on the True Art of Playing Keyboard Instruments (Versuch) (1753–1762). Beyond the baroque period, specific signs for ornamentation are very rare. Continuing through the time of Mozart, the default expectations for the interpretation of trills continued to be similar to those of the baroque. In music after the time of Mozart, the trill usually begins on the principal note. All of these are only rules of thumb, and, together with the overall rate of the trill and whether that rate is constant or variable, can only be determined by considering the context in which the trill appears, and is usually to a large degree a matter of opinion with no single "right" way of executing the ornament.

"Point of No Return" for Flute & Harp

2 parts2 pages01:405 years ago17,040 views
Flute, Harp
"Point of No return" is a "Debussyesque" manifestation that has been floating around inside my head for some time now... I created this piece for Flute and Concert (Pedal) Harp.

"This is My Song" (Finlandia Hymn)

1 part2 pages04:196 years ago20,669 views
"This Is My Song" was penned in 1934 by Lloyd Stone to the tune of Jean Sibelius' Finlandia. The final verse was added in 1939 by Georgia Harkness and remains in the United Methodist Hymnal as Hymn # 437. It is sometimes called "A Song of Peace" which is taken from the second line of the song. This arrangement was created for the Sierra Vista United Methodist Church (SVUMC) organ.

"Come, Sweet Death, Come Blessed Rest" (BWV 478) for Organ and Choir

5 parts5 pages08:226 years ago15,779 views
Voice(4), Organ
"Come, Sweet Death, Come Blessed Rest" (Komm, süßer Tod, komm selge Ruh) was originally written by Johann Sebastian Bach for solo voice and basso continuo from the 69 Sacred Songs and Arias that he contributed to Georg Christian Schemelli's Musicalisches Gesangbuch (Schemelli Gesangbuch No. 868 -- BWV 478) edited by Georg Christian Schemelli in 1736. Source: Wikipedia (,_s%C3%BC%C3%9Fer_Tod,_komm_selge_Ruh). For most of these sacred songs, Bach had only to devise bass lines and figured bass indications -- the melodies selected were old and famous Lutheran tunes. Komm, süßer Tod, however, is an exception. The song has five verses, written around 1724 by some unknown poet, each of which begins which the text "Komm, süßer (süsser) Tod, komm selige Ruh" (Come, sweet death; come, blessed rest), and each of which is set to the same eight short phrases of triple-meter music. Its melody is known in no other source than the Schmelli Gesang-Buch, and it is generally believed that Bach wrote the piece from scratch. (There are two or three other entries in the Gesang-Buch that seem also to have been newly composed) . Those familiar with ordinary German chorales will find themselves on familiar ground with Komm, süsser Tod, but its solo vocal line seems especially to exemplify Bach's supremely confident devotional side. Bach, by means of melody and harmony, expresses the desire for death and heaven.A beautiful orchestral version of this piece was made by Leopold Stokowski in 1946 (see VideoScore); it opens with all the strings muted except for a solo cello that "sings" the melody. In my own inexperienced interpretation, the lyrics read more like a suicide note or death wish than other pieces from this time. It really seems to express the misery with things in the world and longing to end the suffering. Perhaps it was the loss of his beloved wife Maria Barbara Bach or the loss of many of his children. This piece touches me; sad to think of the suffering of a great master like this. One listener offered, "This is not a death wish in the way we normally think of it but the deep longing of a devout man of God desiring to be with his Savior. The music pulls forward and back just as the Apostle Paul was torn between the desire to be useful here on earth yet more to be with his Lord. In this piece the tension ebbs and flows until the final resolution gives full release." I created this arrangement for Pipe Organ and created English lyrics for Choir (SATB).

"Sicilienne" (Opus 78) for Flute and Piano

2 parts5 pages02:526 years ago13,586 views
Flute, Piano
The "Sicilienne" is among Gabriel Fauré's most familiar pieces; it began life as an orchestral sketch in March 1893, intended as incidental music for a revival of Molière's Le Bourgeois gentilhomme at Paul Porel's Eden-Théâtre. Left incomplete as that establishment went bankrupt, Fauré rounded it off and arranged it for cello and piano only in 1898, even as he passed the score along to his pupil Charles Koechlin to orchestrate as an item in the incidental music for a London production of Maeterlinck's Pelléas et Mélisande, where it introduces the scene at the beginning of Act Two, in which Mélisande's wedding ring slips from her finger and disappears into a well as she plays gently with Pelléas -- a use for which it seems predestined. In this form it was first heard with the play's opening at the Prince of Wales' Theatre on June 21, 1898, with Fauré conducting. Given its effectiveness, it was inevitable that Fauré should have included it among the four numbers of his Pelléas et Mélisande Suite, heard for the first time on December 1, 1912, conducted by André Messager. The common practice of publishers in issuing multiple arrangements of works likely to catch on -- for piano, or piano and solo instrument -- ensured that the Sicilienne's lilting wistfulness would become known around the world in the version for cello and piano, published in London by Metzler and Hamelle in Paris in 1898. Like a zephyr, the Sicilienne, with its hypnotically fluid melody carried, as it were, on waves of soothing arpeggiation, evokes a mood of mildly delirious nostalgia. If all music, as Vladimir Jankélévitch has remarked, is nostalgic in a certain manner, the Sicilienne is nostalgic music par excellence, for it embodies a truly existential, or perhaps mysterious, yearning for some undefined, imagined place, a Sicily in the luxuriant realm of dreams. Although originally written for Cello and Piano, I transcribed his work for Flute and Piano.

"Echo Duet" for Flute & Oboe

2 parts2 pages02:255 years ago8,491 views
Flute, Oboe
Jenne Van Antwerpen ( and I created this piece as a brisk duet for two woodwinds (flute & oboe). It is set in a canonistic style and meant to invoke images of a mountain echo because, in the mountains, there's always an echo. Before there was phone or internet or texting, people used yodeling or whistling to send messages from one top of the mountain to another and of course; with an echo! It is still used today as fail-safe warning for avalanches. This piece was created for Flute & Oboe Duet and is intended to be performed fast!

"Jesu, Joy of Man's Desiring" (BWV 147 No. 10) for Piano, Organ & Choir

4 parts9 pages02:496 years ago12,612 views
Voice(2), Percussion(2)
Herz und Mund und Tat und Leben (Heart and mouth and deed and life), BWV 147, is a church cantata by Johann Sebastian Bach. It was written originally in Weimar in 1716 (BWV 147a) for Advent and expanded in 1723 for the feast of the Visitation in Leipzig, where it was first performed on 2 July 1723. Bach composed the cantata in his first year as Thomaskantor in Leipzig for the Marian feast "Mariae Heimsuchung" (Visitation). The prescribed readings for the feast day were Isaiah 11:1–5, the prophecy of the Messiah, and from the Gospel of Luke, Luke 1:39–56, Mary's visit to Elizabeth, including her song of praise, the "Magnificat". He used as a base a cantata in six movements composed in Weimar for the fourth Sunday in Advent. As Leipzig observed tempus clausum (time of silence) from Advent II to Advent IV, Bach could not perform the cantata for that occasion and rewrote it for the feast of the Visitation. The original words were suitable for a feast celebrating Mary in general; more specific recitatives were added, the order of the arias changed, and the closing chorale was replaced and repeated on a different verse to expand the cantata to two parts. The words are verses 6 and 16 of the hymn "Jesu, meiner Seelen Wonne" (1661) by Martin Jahn (de). The opening chorus renders the complete words in three section, the third one a reprise of the first one and even the middle section not different in character. An instrumental ritornello is heard in the beginning and in the end as well as, slightly changed, in all three sections with the choir woven into it. In great contrast all three sections conclude with a part accompanied only by basso continuo. Sections one and three begin with a fugue with colla parte instruments. The fugue subject stresses the word Leben (life) by a melisma extended over three measures. The soprano starts the theme, the alto enters just one measure later, tenor after two more measures, bass one measure later, the fast succession resulting in a lively music as a good image of life. In section three the pattern of entrances is the same, but building from the lowest voice to the highest. The three recitatives are scored differently, the first accompanied by chords of the strings, the second by continuo, the third as an accompagnato of two oboes da caccia which add a continuous expressive motive, interrupted only when the child's leaping in the womb (in German: Hüpfen) is mentioned which they illustrate. The three arias of the original cantata are scored for voice and solo instruments (3., 5.) or only continuo, whereas the last aria, speaking of the miracles of Jesus, is accompanied by the full orchestra. The chorale movements 6 and 10, ending the two parts of the cantata, are the same music based on a melody by Johann Schop, "Werde munter, mein Gemüthe", a melody which Bach also used in his St Matthew Passion on the words "Bin ich gleich von dir gewichen" (movement 40). The simple four-part choral part is embedded in a setting of the full orchestra dominated by a motive in pastoral triplets derived from the first line of the chorale melody. Jesu, Joy of Man's Desiring is the most common English title of this movement of the cantata and is one of Bach's most enduring works. Although the cantata was scored for four soloists and a four-part choir, a festive trumpet, two oboes (oboe d'amore, oboe da caccia), two violins, viola and basso continuo including bassoon, I created this arrangement for Piano, Organ and Choir (SATB).

"Ave Maria" for Piano & Flute

2 parts3 pages046 years ago12,221 views
Flute, Piano
"Ave Maria" is a popular and much recorded aria composed by Vladimir Vavilov around 1970. It is a musical hoax generally misattributed to Baroque composer Giulio Caccini. Vavilov himself published and recorded it on the Melodiya label with the ascription to "Anonymous" in 1970. It is believed that the work received its ascription to Giulio Caccini after Vavilov's death, by an organist Mark Shakhin (one of its performers on the mentioned "Melodiya" longplay), who gave the "newly discovered scores" to other musicians; then in an arrangement made by the organist Oleg Yanchenko for the recording by Irina Arkhipova in 1987, then the piece came to be famous worldwide.

"Dance of the Blessed Spirits" for Flute and Piano

2 parts4 pages06:026 years ago12,149 views
Flute, Piano
The "Orfeo ed Euridice" (Orpheus and Eurydice) is an opera composed by Christoph Willibald Gluck based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. Gluck's "Orfeo and Euredice", one of the turning points in the history of opera, received its premiere in Vienna on 5th October 1762. "Beautiful simplicity" was the phrase used by Gluck and his librettist Ranieri de Calzabigi for what they had set out to achieve, and the work without doubt offered the clearest challenge yet seen or heard to the moribund conventions of Italian "opera seria". Musically it proved to be a work of unparalleled directness, concise in its effects, plain in its speech, overwhelming in its impact. The subject of the opera is the Orpheus of Greek mythology, the famous poet and singer who could charm wild animals with his music. When his wife Euradice died he followed her to Hades and won her back by his art with the condition that he should not look at her until he reached the world again. (He did, with predictably disastrous consequences!) The Dance of the Blessed Spirits occurs in Act 2 of the opera, and consists of a 'roundelay' for strings with two flutes floating above the melody, a tune which nobody who has once heard it is likely to forget. The calm contemplative beauty of the Elysian Fields is perfectly captured by this music which is both tranquil yet at the same time seems to be somehow threaded with melancholy. Although originally written for opera, this arrangement highlights the haunting elegance of the flute.

Sonata in G Minor (HWV 360 Op. 1 No. 2) for Viola & Piano

2 parts8 pages08:452 years ago12,065 views
Viola, Piano
Most music lovers have encountered George Frederick Handel through holiday-time renditions of the Messiah's "Hallelujah" chorus. And many of them know and love that oratorio on Christ's life, death, and resurrection, as well as a few other greatest hits like the orchestral Water Music and Royal Fireworks Music, and perhaps Judas Maccabeus or one of the other English oratorios. Yet his operas, for which he was widely known in his own time, are the province mainly of specialists in Baroque music, and the events of his life, even though they reflected some of the most important musical issues of the day, have never become as familiar as the careers of Bach or Mozart. Perhaps the single word that best describes his life and music is "cosmopolitan": he was a German composer, trained in Italy, who spent most of his life in England. The Sonata in G minor (HWV 360) was composed by George Frideric Handel for recorder and harpsichord (the autograph manuscript, a fair copy made most likely in 1712, gives this instrumentation in Italian: "flauto e cembalo"). The work is also referred to as Opus 1 No. 2, and was first published in 1732 by Walsh. Other catalogues of Handel's music have referred to the work as HG xxvii,9; and HHA iv/3,16. Both the Walsh edition and the Chrysander edition indicate that the work is for recorder ("flauto"), and published it as Sonata II. I created this arrangement for Viola & Piano.

Nocturne (Op. 9 No. 2) in E-Flat Major for Viola & Piano

2 parts4 pages03:022 years ago11,206 views
Viola, Piano
The Nocturnes, Op. 9 are a set of three nocturnes written by Frédéric Chopin between 1830 and 1832 and dedicated to Madame Camille Pleyel. The work was published in 1833. Chopin composed this popular Nocturne in E-flat major, Op. 9, No. 2 when he was about twenty and it is in rounded binary form (A, A, B, A, B, A) with coda, C. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). Nocturne in E-flat major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato. A sonorous foundation for the melodic line is provided by the widely spaced notes in the accompaniment, connected by the damper pedal. The waltz like accompaniment gently emphasizes the 12/8 meter, 12 beats to the measure subdivided into four groups of 3 beats each. The nocturne is reflective in mood until it suddenly becomes passionate near the end. The new concluding melody begins softly but then ascends to a high register and is played forcefully in octaves, eventually reaching the loudest part of the piece, marked fortissimo. After a trill-like passage, the excitement subsides; the nocturne ends calmly. Although originally composed for solo piano, I created this arrangement for Solo Viola & Acoustic Piano.

"Carol of the Bells" in G Minor for English Handbells and Choir

7 parts5 pages01:326 years ago11,000 views
Voice(4), Percussion(3)
"Carol of the Bells" is a choral miniature work composed by the Ukrainian Mykola Leontovych. Leontovych's composition, is characterised by the use of a four note motif as an ostinato figure throughout the work. This ostinato figure is an ancient pagan Ukrainian New Year's (originally celebrated in April) magical chant known in Ukrainian as "Shchedryk" [the Generous One]. I developed this arrangement of the "Carol of the Bells" to accentuates it's original composition using modern 5-Octave English Handbells, Handchimes and full choir (SATB).

"Hark! the Herald Angels Sing" for Piano, Organ, English Handbells and Choir

9 parts13 pages03:346 years ago5,916 views
Voice(4), Percussion(2), Piano, Organ
"Hark! the Herald Angels Sing" music is from the second chorus of a cantata by Felix Mendelssohn (1809-1847) written in 1840 to commemorate Johann Gutenberg and the invention of printing. The words are from a hundred years earlier, written in 1739 by Charles Wesley whose brother, John, Wesley founded the Methodist Church. My arrangement for Piano, Organ, English Handbells and Choir is an ensemble for piano, organ, English handbells and SATB choir arranged for the Sierra Vista United Methodist Church (SVUMC) from the United Methodist Church Hymnal #240. I added English Handbells in order to add brilliance to this magnificent work. I arranged it into a full orchestral score, in modified keys of F and G Major. The addition of English Handbells was not written to replace the piano and organ accompaniment. Rather, it adds color and brilliance to the fanfare – like sections of the score. The full score, including the English Handbell part, is not necessary for performance. Conductors should simply mark English Handbell entrance cues in their score. Care should be taken so that English Handbells are not overwhelmed by the accompanying piano and organ, especially the organ. I suggest that the manual stops be bright flutes or brass and strings (as noted in the “Organ Registration” section) with no doubling of pitches, with eight and sixteen foot pedal stops only. Four foot manual stops should be avoided. This piece is best played using the "HandBells.sf2" SoundFont by FMJ Software.(

"Air" in D Major (BWV 1068) for Crystal Flute & Piano

2 parts4 pages04:146 years ago5,357 views
The four Orchestral Suites or Overtures BWV 1066–1069 are a set of compositions by Johann Sebastian Bach. The Air is one of the most famous pieces of baroque music. An arrangement of the piece by German violinist August Wilhelmj (1845–1908) has come to be known as Air on the G String. I created this arrangement for the Hall Crystal Flute ( and piano supporting the limited range of the instrument. It is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

"Pavane" (Opus 50) for Flute and Piano

2 parts6 pages056 years ago10,297 views
Flute, Piano
The "Pavane" in F# minor, Op. 50, is a composition by the French composer Gabriel Fauré, written in 1887. It was originally a piano piece, but is better known in Fauré's version for orchestra and optional chorus. Obtaining its rhythm from the slow processional Spanish court dance of the same name, the Pavane ebbs and flows from a series of harmonic and melodic climaxes, conjuring a cool, somewhat haunting, Belle Époque elegance. The original version of the Pavane was written for piano in the late 1880s. The composer described it as "elegant, but not otherwise important." Fauré intended it to be played more briskly than it has generally come to be performed in its more familiar orchestral guise. Since its premiere in 1888, Gabriel Fauré ’s Pavane Op. 50 has been an enormously popular piece of classical music. Its beautiful main melody, evocative harmonies and effective orchestration create a very stirring and infectious work, which is why it has become such a favourite with audiences and is so frequently heard time and time again. It was used as the theme to the 1998 World Cup, and has also been the basis for various popular music songs, such as Charlotte Church’s "Dream a Dream". Although originally written for Piano and later Orchestra, I arranged his work for Flute and Piano.