Sheet music for Guitar

Partita in C Minor (HWV 444 No. 19) for Violin & Guitar

2 parts5 pages07:4910 months ago17,072 views
Violin, Guitar
Georg Friedrich Händel (1685 – 1759) was a true European. He had a German work ethic, Italian passion and a Dutch head for business. And after training in Germany and Italy, from 1711 he went on to win the hearts of the British. He wooed them with his many operas and oratorios, and with instrumental works like his Water Music and Music for the Royal Fireworks.

Yet during his lifetime, he was renowned not only as an organist, but also as one of the greatest harpsichordists of his day. The public couldn’t get enough of him on the harpsichord, either as a composer or a musician. Evidently times change. However, if we take a closer look at the period during which Handel settled in London, we soon see that people were occupied with the same issues then as they are today.

The signing of the Treaty of Utrecht in 1713 finally brought peace after a long period of war, and with it a lasting balance of power in Europe. It was a historic moment, comparable to the foundation of the European Union. Historic, partly because it was the first time a treaty had been signed not on the battle field but at the negotiating table. For Handel it was a fortunate development as it allowed him to move much more freely around Europe. At the same time, England had not done badly out of the peace deal it had struck in Utrecht. Welfare in the country increased, certainly in London.

Handel brought together new and old material, but just what was old and what was new we do not know. Probably some of the work dated from his student days in Germany, some from his years in Italy, and the new material from his time in London. The German folksongs in the Air of the Suite in D Minor and the Passacaille from the Suite in G Major could well have been composed in his German years, as could some of the Fugues. Little is written about this Chaconne & 49 Variations in C Major although they were likely written for Organ or Harpsichord.

According to Grove Music, Handel's keyboard pieces were "all probably for harpsichord and written before 1720, unless otherwise stated"; specifically for HWV 485, Grove says "for 2-manual hpd".

Source: Wikipedia (

Although originally written for Keyboard, I created this Arrangement of the Partita in C Minor (HWV 444 No. 19) for Violin & Classical Guitar.
Transylvanian Lullaby (Excerpt from "Young Frankenstein") for Viola

Transylvanian Lullaby (Excerpt from "Young Frankenstein") for Viola

1 part1 page01:324 years ago10,410 views
This is an excerpt of the theme taken from the famous film by Mel Brooks "Young Frankenstein" (Transylvanian Lullaby by John Morris) transcribed for Solo Viola.

Note: This work is not my own and is likely copyrighted.

John Leonard Morris (born October 18, 1926) is a retired American film and television composer, best known for his work with filmmaker Mel Brooks.

Bach Invention #4 in D minor - Upper Voice for Mandolin w TAB

2 parts3 pages00:493 years ago2,219 views
I adapted this Bach Invention for keyboard to be played by 2 mandolins. There are two scores: one for the lower voice (left hand) and one for the upper voice (right hand). This is the upper voice which is in the original voicing. Now my son and I just have to practice it a little more so we can play it together. Thanks to Mike Magatagan for doing the original keyboard transcription and posting it to MuseScore.
"Riu, Riu, Chiu" a Spanish Christmas Carol for String Quartet

"Riu, Riu, Chiu" a Spanish Christmas Carol for String Quartet

4 parts1 page01:334 years ago4,074 views
Violin(2), Guitar, Cello
"Riu, Riu, Chiu" is a 16th Century Spanish villancico by an anonymous composer. The villancico is attributed by some sources to Mateo Flecha the Elder, who died in 1553. The villancico is verse, set to popular dance rhythms, depicting pastoral Nativity scenes with a country flavor (animals and shepherds).

It was written in so-called villancico style, which became a popular form for songs in post-Renaissance Spain. Such songs are in ternary form, with a text expressing some aspect of Christian principles or beliefs.

"Riu, Riu, Chiu" became one of the more widely known such works in its time. The author of this carol is generally thought to be anonymous, but its text, possibly originally written in Portuguese, has been attributed by some to Mateo Flecha (1481-1553). The melody to Riu, riu, chiu probably dates to the fifteenth century or earlier. The words in the title are vocalizations of the sounds made by a nightingale. The main theme is lively and rhythmic and has an instant appeal, lingering in the mind long after one or two hearings. It exudes folk-ish color. One hears a mixture of Renaissance-era elegance here with a sort of peasant-like festivity. Its text speaks of the roles of the Blessed Mother and the Redeemer.

This piece was popularized by the Monkees when they performed it acapella for their TV Christmas special in 1967:

Although originally intended to be sung by a lone male voice, with the main choir singing the chorus, I created this arrangement for String Quartet (2 Violins, Viola & Cello).

"Carnival of Venice" (Opus 10 MS 59) Theme & Variations for Flute & Guitar

2 parts5 pages03:482 years ago3,214 views
Flute, Guitar
Niccolò (or Nicolò) Paganini (1782 – 1840) was an Italian violinist, violist, guitarist, and composer. He was one of the most celebrated violin virtuosi of his time, and left his mark as one of the pillars of modern violin technique.

Paganini composed his own works to play exclusively in his concerts, all of which had profound influences on the evolution of violin techniques. His 24 Caprices were probably composed in the period between 1805 to 1809, while he was in the service of the Baciocchi court. Also during this period, he composed the majority of the solo pieces, duo-sonatas, trios and quartets for the guitar. These chamber works may have been inspired by the publication, in Lucca, of the guitar quintets of Boccherini. Many of his variations (and he has become the de facto master of this musical genre), including "Le Streghe", "The Carnival of Venice" (this), and "Nel cor più non mi sento", were composed, or at least first performed, before his European concert tour.

In 1855, Thomas Aptommas created this arrangement was created entirely for Concert (Pedal) Harp and from it, I created this interpretation for Flute and Classical Guitar.

"Ave Maria" for Violin, Viola & Harp

3 parts5 pages02:233 years ago2,230 views
Violin, Guitar, Harp
Charles-Camille Saint-Saëns (1835–1921) was a French composer, organist, conductor and pianist of the Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Second Piano Concerto (1868), the First Cello Concerto (1872), Danse macabre (1874), the opera Samson and Delilah (1877), the Third Violin Concerto (1880) the Third ("Organ") Symphony (1886) and The Carnival of the Animals (1887).

It is not only Bach/Gounod when hearing the Ave Maria: Saint-Saëns, too, set this text to music several times - for example, for organ (without pedal) and two identical voices. The organ is sometimes replaced replaced by a piano (and here, the Harp), the vocal parts can be sung by two sopranos, soprano and mezzo-soprano, or soprano and alto. If the performers are good, one may even consider a performance of this sacred composition in groups. This setting is valuable addition to the repertoire and impressive alternative to the common Ave Maria settings.

I created this arrangement of his "Ave Maria - Come, Blessed Savior" for Violin, Viola & Concert (Pedal) Harp.
Allegro from Concerto for Viola d'amore in D Major (RV 392 No 3) for Viola & Strings

Allegro from Concerto for Viola d'amore in D Major (RV 392 No 3) for Viola & Strings

5 parts11 pages05:154 years ago2,019 views
Guitar, Strings(4)
Antonio Lucio Vivaldi nicknamed il Prete Rosso ("The Red Priest") because of his red hair, was an Italian Baroque composer, priest, and virtuoso violinist, born in Venice. Vivaldi is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over 40 operas. His best known work is a series of violin concertos known as The Four Seasons.

Vivaldi's works for viola d'amore include the earliest known concertos for the instrument. There is quite a lot of information available about these works but it is scattered in various books, journals and academic studies. Vivaldi's association with the viola d'amore seems to have been a lifelong one. There is evidence that Vivaldi may have encountered the viola d'amore as early as 1689 whilst deputising for his father in the Orchestra of San Marco. One Nicolo Urio was engaged there in that year as a viola d'amore player (Selfridge-Field 1994). Vivaldi's earliest datable work for viola d'amore is the aria 'Quanto magis...' from the Oratorio Juditha Triumphans (1716) which was written for the Pietà and would certainly have been played by the celebrated Anna Maria. The majority of the concertos use five or six strings and are written for chordal tunings. However, two of the concertos, RV394 and RV396, appear to have been written for fifths tunings and only use four strings. They have few double stops and RV396 is the only of Vivaldi's works for viola d'amore to be notated in alto clef (an octave lower than sounding).

Although originally written for Viola d'amore, strings and continuo, I created this arrangement for modern solo Viola and String Quartet (2 Violins, Viola & Cello).

"Valse de l'Adieu" (Opus 69 No 1) for Viola & Guitar

2 parts2 pages02:513 years ago1,916 views
Viola, Guitar
Fryderyk Franciszek Chopin,was a Polish composer and virtuoso pianist of the Romantic era, who wrote primarily for the solo piano. He gained and has maintained renown worldwide as one of the leading musicians of his era, whose "poetic genius was based on a professional technique that was without equal in his generation." Chopin was born in what was then the Duchy of Warsaw, and grew up in Warsaw, which after 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed many of his works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising.

The waltz was originally written as a farewell piece to Maria Wodzińska, to whom Chopin was once engaged. This autographed copy Pour Mlle Marie, given to her in Dresden, Germany, in September 1835, is now in the National Library (Biblioteka Narodowa) of Poland in Warsaw. Another autographed version of the piece can be found at the Conservatoire de Paris, but is considered to be a less refined version. A third is presented as the posthumous edition of Julian Fontana, but has not been substantiated by any known autograph.

is in A-flat major, with a time signature of 3/4. The tempo is marked at tempo di valse, or a waltz tempo. The beginning theme, marked con espressione, is melancholic and nostalgic, and reaches a small high point with a fast flourish. The second part is marked sempre delicatissimo, or con anima in other versions. It is somewhat more cheerful than the previous theme, but soon gives way to the same first theme. After a second rendition of the first theme is a third theme, marked as dolce, the most playful theme. It leads to another theme with a series of ascending double-stops. This fourth theme is marked poco a poco crescendo, with other editions adding ed appassionato. This leads back to the third, playful theme, and returns to the beginning with a da capo al fin.

Source: Wikipedia (,_Op._69,_No._1_%28Chopin%29).

Although composed entirely for piano, I created this arrangement for Viola and Classical Guitar.

Aria: "Schlummert ein, ihr matten Augen" (BWV 82 No 3) for Guitar & Strings

5 parts6 pages09:093 years ago1,885 views
Guitar, Violin(2), Viola, Cello
"Ich habe genug" (BWV 8Ich habe genug (original: Ich habe genung, English: "I have enough" or "I am content"), BWV 82, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for bass in Leipzig in 1727 for the Feast Mariae Reinigung (Purification of Mary) and first performed it on 2 February 1727. In a version for soprano, BWV 82a, possibly first performed in 1731, the part of the obbligato oboe is replaced by a flute. Part of the music appears in the Notebook for Anna Magdalena Bach. The work is often performed and the most frequently recorded of all the Bach cantatas.

Bach composed the cantata in his fourth year in Leipzig for the feast Purification of Mary. The extant autograph score and the parts show that he performed it at least three more times, in a version for soprano, BWV 82a, the first possibly in 1731 or even as early as 1730, another version for soprano in 1735; and again for bass, with minor changes to the original version, after 1745. Bach obviously had a high regard for this work. The first recitative and most of the aria Schlummert ein were copied to the Notebook for Anna Magdalena Bach in a version with continuo accompaniment, presumably entered by Anna Magdalena Bach for her own use. Other cantatas that Bach performed for the occasion are, according to Alfred Dürr, Komm, du süße Todesstunde, BWV 161, Ich lasse dich nicht, du segnest mich denn, BWV 157, and Der Friede sei mit dir, BWV 158, with similar topics.

In the first version of the cantata, the choice of the bass voice probably illustrates the old man Simeon. The soprano voice shows more clearly that the situation applies to that of any believer.

The first movement, an aria, begins with an expressive melody of the obbligato oboe which is picked up by the voice on the words Ich habe genug (I have enough). The beginning upward leap of a minor sixth is reminiscent of the aria Erbarme dich (Have mercy) in Bach's St Matthew Passion and the aria Wenn kömmst du, mein Heil? (When will you come, my salvation?) from Wachet auf, ruft uns die Stimme, BWV 140. The first motif is changed to a phrase that appears at the end of three vocal sections. A similar motif begins the middle section on the words Ich hab ihn erblickt (I have seen him), turning upwards in the end. Klaus Hofmann notes a "feeling of serene contentedness with life" in "elegiac tones" as the aria's expression. Musicologist Julian Mincham notes "that instant when body and soul come to rest and are resigned and in complete harmony. Bach encapsulates this experience of peace and acquiescent submission beyond anything that mere words can convey." He sees the "flowing oboe arabesques", which the singer imitates twice on the word Freude (joy) as a "clear indication that their expressive function is to proclaim the Christian's personal bliss, an inextricable element of this important experience of life".

The following recitative begins with the same words as the aria, Ich habe genug, on a new melody. The middle section stresses the words Laßt uns mit diesem Manne ziehn! (Let us go with this man!), speaking of following Jesus, by an arioso in which the continuo follows the singer.

The central aria Schlummert ein, ihr matten Augen (Fall asleep, you weary eyes) is a "Schlummer-Arie" (slumber aria). In a complex structure, it is not only a da capo aria of three sections framed by a ritornello of the strings, but repeats the first section in the center of the middle section. Frequent use of pedal point suggests rest, fermatas stop the forward motion, as described by Mincham who writes, "The frequent pauses, where everything temporarily comes to a standstill, are suggestive of that peaceful closing of life where there is no activity and disorder is a thing of the past".

A short secco recitative, Mein Gott! wenn kömmt das schöne: Nun! (My God! When will the lovely 'now!' come) ends with a downward continuo line, suggesting both "taking one's leave and being lowered into the welcoming grave".

The concluding aria is a joyful dance, anticipating death as the fulfilment of desire, Ich freue mich auf meinen Tod (I am looking forward to my death). The "joyful longing for the hereafter" is expressed by "agile coloraturas that characterize the entire movement". Mincham notes that the final aria corresponds to the first in similarity of the scoring with the obbligato instrument, key, and triple time. The final aria is faster, marked "vivace". The text first treats the "joy of anticipation of death and the desire for it to happen imminently", then, treated in the middle section, the "conviction that death will release us from the misery of the world to which we have been chained".

Although originally scored for bass, oboe, two violins, viola, and basso continuo, I created this arrangement for Classical (Acoustic) Guitar & Strings (2 Violins, Viola & Cello).

Sonata in G Minor (BWV 1001) for Guitar

1 part7 pages14:39a year ago1,890 views
Johann Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His sacred music, organ and choral works, and other instrumental music had an enthusiasm and seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style -- which often included religious and numerological symbols that seem to fit perfectly together in a profound puzzle of special codes -- still amaze musicians today. Many consider him the greatest composer of all time.

The first work in J.S. Bach's Sei Solo a Violino senza Basso accompagnato, Libro Primo (Six Solos for violin without accompaniment, Book 1, all composed in 1720 -- pity that he never fashioned a "Book 2") is also the most frequently played of the lot: the Sonata No. 1 in G minor, BWV 1001. Of the three sonatas in the volume (there are three sonatas and three partitas), the G minor is technically the simplest and also the shortest, making it a good entry-point for the violinist looking to tackle this magnificent volume of music. However, its greater accessibility vis-à-vis the other two sonatas in no way implies that it is somehow a less sophisticated piece of music -- indeed, its riches run as deep as those of any of the other pages in the volume, the great Chaconne of BWV 1004 included. Each of the three sonatas for solo violin is set in the slow-fast-slow-fast four-movement pattern of the sonata da chiesa, and in each the second movement is a fugue. In BWV 1001 the movements are: Adagio, Fuga, Siciliana, and Presto.

The Adagio is a wildly, but very elegantly, embellished progression of harmonies. All the embellishments -- and embellishments mean not only little turns, appoggiaturas, and the like, but also whole melodic gestures, scales, and small arpeggios -- are written out quite carefully by Bach -- the result is a work that might sound improvised but is most definitely not. The G minor Fuga is the most compact of the three fugues in the volume (and note that these are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was transcribed for lute by Bach at some later time (BWV 1000). The Siciliana is a gentle thing in B flat major; the main melody is played in the lowest register of the instrument while a warm commentary unfolds in the upper register. The Presto finale is a moto perpetuo in sixteenth notes whose 3/8 meter has at times a hint of cross-rhythm to it.

Source: AllMusic (

Although originally written for Lute. I created this Interpretation of the Sonata No. 1 in G Minor (BWV 1001) for Classical Guitar.

"None but the Lonely Heart" (Opus 6 No 6) for Viola & Piano

2 parts3 pages02:524 years ago1,860 views
Guitar, Piano
Pyotr Ilyich Tchaikovsky composed a set of six romances for voice and piano, Op. 6, in late 1869; the last of these songs is the melancholy "None but the Lonely Heart" (Russian: Нет, только тот, кто знал, Net, tol'ko tot, kto znal), a setting of Lev Mei's poem "The Harpist's Song," which in turn was translated from Goethe's Wilhelm Meister's Apprenticeship.

Tchaikovsky dedicated this piece to Alina Khvostova. The song was premiered by Russian mezzo-soprano Yelizaveta Lavrovskaya in Moscow in 1870, following it with its St. Petersburg premiere the following year during an all-Tchaikovsky concert hosted by Nikolai Rubinstein; the latter was the first concert devoted entirely to Tchaikovsky's works.

Although this piece was originally written for Orchestra and later arranged for Piano and soprano voice, I created this arrangement for Viola and Acoustic Piano.

Ario: "Nulla in Mundo Pax Sincera" (RV 630 No. 1) for Viola & Harp

2 parts5 pages05:084 years ago1,806 views
Guitar, Harp
Antonio Lucio Vivaldi nicknamed il Prete Rosso ("The Red Priest") because of his red hair, was an Italian Baroque composer, priest, and virtuoso violinist, born in Venice. Vivaldi is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over 40 operas. His best known work is a series of violin concertos known as The Four Seasons.

"Nulla in mundo pax sincera" (RV 630 No. 1), is a sacred motet composed by Antonio Vivaldi in 1735 to an anonymous Latin text, the title of which may be translated as "In this world there is no honest peace" or "There is no true peace in this world without bitterness". Written in the key of E major and in the typical lyrical Italian Baroque style, it is scored for solo soprano, two violins, viola and basso continuo, this would normally be a cello and keyboard instrument, in Vivaldi's case often the organ. The text dwells on the imperfections of a world full of evil and sin, and praises Jesus for the salvation he offers from it. It is considered to be one of Vivaldi's most beautiful solo motets.

The motet consists of three parts (Aria; Recitative; Aria), followed by a concluding Alleluia. A full performance of the piece takes approximately 13 minutes.

The first aria of the piece was featured in the closing credits of the 1996 film Shine. This version featured Jane Edwards. Another notable version of the aria is that featuring Emma Kirkby accompanied by The Academy of Ancient Music.

Although this piece was originally scored for solo soprano, two violins, viola and basso continuo, I created this arrangement for Viola and Concert (Pedal) Harp and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

Largo from the Concerto in D Minor (BWV 1043 No 2) for Viola & Harp

2 parts6 pages08:573 years ago1,804 views
Guitar, Harp
The Concerto for Two Violins, Strings and Continuo in D Minor, BWV 1043, also known as the Double Violin Concerto or "Bach Double", is perhaps one of the most famous works by J. S. Bach and considered among the best examples of the work of the late Baroque period. Bach wrote it between 1717 and 1723 when he was the Kapellmeister at the court of Anhalt-Köthen, Germany. Later in 1739, in Leipzig, he created an arrangement for two harpsichords, transposed into C minor, BWV 1062. In addition to the two soloists, the concerto is scored for strings and basso continuo.

The concerto is characterized by the subtle yet expressive relationship between the violins throughout the work. The musical structure of this piece uses fugal imitation and much counterpoint. It was very likely first played by Joseph Spiess and Martin Friedrich Marcus with Prince Leopold's court orchestra. At Cöthen, Bach had no organ to play, despite his pan-German reputation as a virtuoso on that behemoth among Baroque instruments. However, he was proficient as well on the violin, the viola da gamba, and of course the clavier. Without his first choice available, or church duties such as Leipzig demanded later on, Johann Sebastian concentrated on instrumental music in various combinations -- much of it subsequently lost. Along with the Brandenburg Concertos as a set, only two more concertos for solo violin and the D minor for two violins survived out of who knows how many, beyond the ones Bach rewrote at Leipzig after 1729 for one, two, three, and four claviers. All of his concertos, Brandenburgs included, had Vivaldi as their point of departure, and some were even transcriptions of the Italian master's works. Bach's genius was, of course, that he could individualize as well as transcend the music of a man indirectly his mentor. His works hadn't the sensuality or esprit of Vivaldi's; Bach was German Lutheran, bound beyond climate and environment by a religion that denounced the secular excesses in which Roman Catholicism (as Luther viewed it from within) had wallowed since the Middle Ages.

While opera had no place in Bach's education, life, or music, he was nonetheless sublimely capable of lyricism, warmth, and gentleness, never more so than in the Largo, ma non tanto middle movement of this Double Concerto, with its 12/8 Siciliano rhythm and solo lines that seem to caress one another as they overlap and intertwine. On either side of this blissful duolog, however, the Baroque contrapuntist displays his mastery of synthesis and organization. The concerto opens with a fugal exposition of two contrasting themes, and their "development" in the ritornello style through G minor and C minor before the orchestra "reprises" the opening theme one last time. The allegro finale, in triple meter, likewise features imitation and repetition with the soloists front and center. Even more than in the first movement, there is a feeling of sonata form in embryo, with the charming surprise of a reprise in G minor instead of the tonic D minor.

Although originally written fro 2 violins and continuo, I created this arrangement for Solo Viola & Concert (Pedal) Harp and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

Gnossienne No. 1 for Viola & Guitar

2 parts3 pages04:312 years ago1,727 views
Viola, Guitar
Erik Satie (1866-1925) was an eccentric joker with a rebellious spirit, and often made fun of classical music by composing parodies with unusual titles like Unpleasant Glimpses, Desiccated Embryos, Genuine Flabby Preludes (for a dog), Old Sequins and Old Breastplates, and Teasing Sketches of a Fat Man Made of Wood to name a few.

Satie was good friends with Claude Debussy and Maurice Ravel, even though he opposed impressionistic music - a genre in which Debussy and Ravel composed many great pieces.

The word "gnossienne" describes several pieces of piano music composed by Satie that didn't fit into any of the existing styles of classical music like a piano prelude or a sonata. Satie easily solved this dilemma by simply titling the pieces with a completely new and made up word, in this case - "gnossienne." Though the etymology and the pronunciation of Satie's made up word "gnossienne" remain a mystery to many, what is clear is that his six gnossiennes are wonderfully unique and beyond intriguing.

Satie composed his first three gnossiennes around 1890, without time signatures and bar lines (often referred to as "absolute time") and traditional tempo markings. Satie's peculiar scores could be read like musical poetry - one can interpret the piece with very few restrictions, as his tempo markings were made of phrases like "don't leave", "lightly, with intimacy" and "don't be proud." The first gnossiennes (Nos. 1 and 3) were published in September of 1893, in Le Figaro musical Nr. 24, while No. 2 was published in Le Coeur the next month. The remaining three gnossiennes, Nos. 4-6, were composed in 1891, 1899, and 1897, respectively. However, these were not published until 1968.

Satie's gnossiennes are often viewed as a musical continuation of his popular Trois Gymnopedies, though some musicologists believe they are more closely related to his Sarabandes. Either way, it's apparent that music like this has never been composed before, making it easy to understand why such an enigmatic title was given to them. The inherent feelings of timelessness and infinity of each piece come from the works' cyclical nature - you could leave each gnossienne on repeat and never distinctly hear a beginning or and ending apart from the pause generated by your CD player in between tracks. Like the Gymnopedies, Satie composes lonely melodies supported by less than complex, almost elementary, harmonies and chord structures.

Although originally created for Solo Piano, I created this Interpretation Gnossienne No. 1 for Viola & Guitar.

"Wachet auf, ruft uns die Stimme" (BWV 645) for Viola

1 part1 page04:094 years ago1,700 views
"Wachet auf, ruft uns die Stimme" (literally: Awake, the voice is calling us) is a Lutheran hymn written in German by Philipp Nicolai, first published in 1599 together with "Wie schön leuchtet der Morgenstern". It appears in German hymnals and in several English hymnals in translations such as "Wake, Awake, for Night Is Flying". The hymn is known as the foundation of Johann Sebastian Bach's chorale cantata Wachet auf, ruft uns die Stimme, BWV 140, as well as being the foundation of settings by other composers.

The beginning of the melody, three notes of the triad, have been used in bell tuning. Several composers were inspired to vocal and instrumental settings.

Dieterich Buxtehude composed two cantatas based on the hymn, BuxWV 100 and BuxWV 100. Johann Sebastian Bach based his chorale cantata Wachet auf, ruft uns die Stimme, BWV 140, on the hymn and derived one of the Schübler Chorales, BWV 645, from the cantata's central movement. His son Johann Christoph Friedrich Bach wrote a cantata for a four-part choir, Wachet auf, ruft uns die Stimme.

Source: Wikipedia (,_ruft_uns_die_Stimme).

Although originally written for Organ, I created this arrangement for Solo Viola.

"Christmas Air" for Violin, Viola & Harp

3 parts3 pages02:124 years ago1,694 views
Violin, Guitar, Harp
Franz Xaver Wolfgang Mozart (1791 -- 1844), also known as Wolfgang Amadeus Mozart, Jr., was the youngest child of six born to Wolfgang Amadeus Mozart and his wife Constanze. He was the younger of his parents' two surviving children. He was a composer, pianist, conductor, and teacher whose musical style was an early Romanticism, heavily influenced by his father's mature style.

He was born in Vienna, five months before his father's death. Although he was baptized Franz Xaver Mozart, from birth on he was always called Wolfgang by his parents. He received excellent musical instruction from Antonio Salieri and Johann Nepomuk Hummel, and studied composition with Johann Georg Albrechtsberger and Sigismund von Neukomm. He learned to play both the piano and violin. Like his father, he started to compose at an early age. "In April 1805, the thirteen-year-old Wolfgang Mozart made his debut in Vienna in a concert in the Theater an der Wien."

Mozart had a relatively small music output (his opus numbers only go up to 30) and after 1820 he seems to have given up composing almost entirely; in particular, there is an 11-year gap (1828 to 1839) when he seems to have not written anything. Nevertheless, recordings of his music can be found today. He wrote mainly chamber music and piano music, with his largest compositions being the two piano concertos.

Although this piece was originally written for Voice (Soprano) & Piano, I created this arrangement for Violin, Viola & Concert (Pedal) Harp.

"Come by the Hills" for Viola, Cello & Harp

3 parts5 pages02:514 years ago1,670 views
Guitar, Cello, Harp
Buachaill Ón Eirne (“A Lad from the Éirne.” also known as “Come By The Hills”)

Little is known about this traditional Irish folk song however, the air is Irish, the song is Scottish, as the lyrics of Come By The Hills were composed by a Scottish television producer W. Gordon Smith to this very old tune.

Although originally written for folk instruments, I created this arrangement for Viola, Cello & Celtic or Concert (Pedal) Harp.

Romanian Folk Dance No. 1 (BB68/SZ56) for Flute & Guitar

2 parts1 page01:14a year ago1,577 views
Flute, Guitar
Béla Viktor János Bartók (1881 -- 1945) was a Hungarian composer and pianist. He is considered one of the most important composers of the 20th century; he and Liszt are regarded as Hungary's greatest composers (Gillies 2001). Through his collection and analytical study of folk music, he was one of the founders of ethnomusicology.

Romanian Folk Dances, Sz. 56, BB 68 is a suite of six short piano pieces composed by Béla Bartók in 1915. He later orchestrated it for small ensemble in 1917 as Sz. 68, BB 76.

It is based on seven Romanian tunes from Transylvania, originally played on fiddle or shepherd's flute. The original name for the piece was titled Romanian Folk Dances from Hungary but was later changed by Bartók when Transylvania joined Romania in 1918. It is nowadays available in the 1971 edition which is written with key signatures although Bartok rarely ever wrote key signatures.

The melody of the first movement, according to Bartók, came from Mezőszabad (present-day Voiniceni) village that was part of Mezőcsávás (present-day Ceuașu de Câmpie) commune which was located in the Maros-Torda administrative county within Transylvania, and he first heard it when two gypsy violinists were playing it. The second movement is a typical dance from Romania called Brâul, for which traditionally a sash or a waistband was used. This melody came from Egres (present-day Igriș), in the Banat region. The third dance comes also from Egres (Igriș), but its theme is much darker and its melody recreates Middle Eastern instruments, such as the flute. The fourth dance came from Bucsony (present-day Bucium), in the district of Torda-Aranyos (today Alba county in Romania). The fifth dance is an old Romanian dance similar to the Polka and comes from Belényes (present-day Beiuş, in Bihor county), near the border between Hungary and Romania. The sixth and last dance is formed by two different melodies: the first one comes from Belényes (present-day Beiuș) and the second one comes from the then named Nyagra (present-day Neagra) village within the Palotailva (present-day Lunca Bradului) commune. Both on the orchestral version and on the original piano version, these two dances are performed without a discernible pause, the reason for which is anyone's guess.

Source: Wikipedia (

Although originally written for Piano, I created this interpretation for Flute & Classical Guitar.

Bach Invention #4 in D minor - LowerVoice for Mandolin w TAB

2 parts3 pages00:493 years ago1,502 views
I adapted this Bach Invention for keyboard to be played by 2 mandolins. There are two scores: one for the lower voice (left hand) and one for the upper voice (right hand). This is the lower voice which is transposed up 1 octave to get it into the mandolin range. A few low notes had to be moved up further into range usually by another octave. Now my son and I just have to practice it a little more so we can play it together. Thanks to Mike Magatagan for doing the original keyboard transcription and posting it to MuseScore.

"Gymnopedie 1" for Viola & Guitar

2 parts2 pages03:012 years ago1,408 views
Viola, Guitar
Erik Satie's Gymnopédie #1. Satie's Gymnopedies are what many consider to be the groundwork for today's ambient music; it's as ignorable as it is interesting (although, I find it hard to ignore such great music). He created three beautiful Gymnopedies for solo piano that are calming, reflective, ethereal, relaxing, soothing, and elegant.

This, Gymnopedie No. 1 -- labeled Lent et douloureux (slow and mournfully) is hollow, but eerily warm melody gently floating atop an accompaniment of steady short-long rhythms. It is as expressive as it is transparent. Its simplicity and openness masterfully disguises its apparent dissonances.

Although originally created for Solo Piano, I created this arrangement for Viola and Classical Guitar.