Sheet music

Pergolesi/Magatagan/BSG: Stabat Mater Dolorosa quartet

4 parts3 pages04:463 years ago1,862 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).

Canon in D for Harp and Strings (AND BRASS)

9 parts45 pages06:19a year ago432 views
Strings(3), Contrabass, Harp
Another piece made by my good buddy Mike Magatagan, so all credit goes to him. Link to the original: ( Or, you could check out the piece on Lyra's account ( I only added the strings and brass. You may use the piece, but credit both Matt and I. Thanks. Blessings.
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J. S. Bach: Arioso - Betrachte, meine Seele (aus Johannespassion, BWV 245)

5 parts5 pages02:012 years ago1,872 views
Cello, Violin(2), Harp, Bass
The two most sublime, breathtaking minutes of Bach's Passion According to St. John, with 'cello and harp subbing for Basso and lute. This brief, but sublimely subtle and understated meditation in the heart of Bach's Passion According to St. John, BWV 245, occurs immediately after the Evangelist has told of Jesus' scourging, as a preface to the lengthy tenor aria, "Erwäge, erwäge, wie sein blutgefärbter Rücken" pondering the bloody rainbows on his back which reveal God's Salvation, parallel to the alto arioso "Erbarm' es, Gott!" in the St. Matthew. As per the central doctrine of the Lutheran theology of the Cross, the present movement meditates upon the cognitive dissonance between the bitterness of the torture Jesus is enduring and the sweetness of the salvation it grants the faithful: (German text in the score): "Consider, o my soul, with anxious delight, with bitterly troubled heart, thine highest Good in Jesus' sorrows, how from thorns that pierce him the flowers of the keys to heaven (one Sanskritesque -compositum-, "Himmelsschlüsselblumen"! (i.e., the primrose)) blossom for thee; thou canst pick much sweet fruit from his wormwood, therefore look unceasing upon him." (See Eric Chafe, "Bach's Johannine Theology" for deep understanding of this Barthold Heinrich Brockes-based text). The aria is scored for basso, two viole d'amore (or violins with mutes), and lute. MuseScore has none of those, so, in the style of Mike Magatagan, I have substituted "classical guitar" and harp, which work really well here, and two pianissimo violins. I've put a plucked contrabass on the continuo tasto line. (Viole d'amore have sympathetic strings, but I suppose one can imbue additional compassion into any). I did not do any "arranging"; every note is Bach's (although I 'realized' some "recit appoggiature" as they ought be performed); I did a bit of "creative conducting" with subtle tempo controls, the way I would conduct if I ever could.... The degree of dissonance, especially unexpected "deceptive" resolutions, esp. to 6-4-2 chords (e.g., m. 4 first beat), tritones at key junctures and full flat-9 chords, is exceptional, even for Bach (the aforementioned St. Matthew arioso, "Erbarm' es, Gott", is similar in this respect). Perhaps even Bach didn't notice that the last two eighths of the second violin in mm. 8 and 11 are C#-C and Db-C respectively (i.e., Bach's chromatic vision and key-wanderings are broad). The "guitar" part is written at concert pitch, and requires a "Drop D" tuning (guitars are usually written an octave up). The lute-like sound of the MS guitar made me swap out the harp I had been using ... Appropriately to its text, the arioso speaks with a beatific sweetness, its gentle lute chords and runs against the pedal points (particularly the first (and identical last) two measures) embraced by the double helix of viola d'amore arpeggii about them. Yet, this texture is pushed and distorted to bring forth the grave dissonances of the Crucifixion, the ultimate and central dissonance and crossing of good and evil underlying this theology. [10/27/2015 - change from harp to guitar, and pluralize # of heavenkeyflowers.]

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

2 parts3 pages00:493 years ago1,732 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.

The Trumpet Shall Sound (From Handel's "Messiah Oratorio" HWV 56, Part III, Scenes I and II)

14 parts51 pages05:47a year ago498 views
Voice, Trumpet(2), French Horn(2), Flute(2), Clarinet(2), Bassoon, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Tuba
All credit for writing "The Trumpet Shall Sound" goes to my friend, Mike Magatagan [GO CHECK HIS ACCOUNT OUT!]. I arranged the pitch and the Intro [Behold, I Shew You A Mysery].

Caccini - Ave Maria, for Voice and Flute

3 parts4 pages04:27a year ago1,496 views
Oboe, Flute, Piano
Rearranged Ricardo.Espinozasalazar's score: "Ave Maria Caccini". and Combined Mike Magatagan's Arrangement: "Ave Maria for Flute and Piano". Thank you!

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

2 parts3 pages00:493 years ago1,267 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.

Camille Saint-Saens - Carnival of the Animals (Complete)

11 parts144 pages21:03a year ago738 views
Piano(2), Violin(2), Viola, Cello, Contrabass, Flute, Clarinet, Synthesizer, Percussion
This is my own Transcribed Version of Camille Saint-Saens's Carnival of the Animals, for the ACTUAL RARE INSTRUMENTS, 2 Pianos, 2 Violins, Viola, Cello, Bass, Flute (Doubles with Piccolo), Clarinet (B-Flat and C), Xylophone, and Glass Harmonica. But the Original is done by Mike Magatagan here in this group: and I would like to give the user credit for all of the work that he did!

J.S. Bach: Wohl mir, daß ich Jesum habe (“Jesu, Joy of Man's Desiring”, BWV 147 #6)

9 parts6 pages02:539 months ago491 views
Voice(4), Violin(2), Viola, Strings, Organ
One of Bach's most beloved movements, performed by MuseScore with the Hauptwerk/Sonus Paradisi image of the Walcker Doesburg organ backing up the chorus. The score is as published, but I have not copied or realized the continuo figures. Information about this beloved movement is readily available everywhere. E.g.,,_Joy_of_Man%27s_Desiring . The chorale melody is by Johan Schop. The setting of the chorale (the four vocal parts) is particularly beautiful, esp. the 6-5 half-tone dissonance at m. 11. I learned the trick of how to lie about the time-signature of the famous violin 1 part from Mike Magatagan. They are all triplets with brackets hidden. There is no way to force the original dotted-eighth/sixteenth groups to act as triplets, so ... the notation of violin 2 is inauthentic. Backing up the chorus with the organ is an original idea not reflected in the score; the organ pedal, though, accompanies the whole movement, backing the cello at 16'. In the MS (not YouTube) performance, the MS organ is used, but hidden. Trumpet w/sop not there yet.

"Transeamus usque Bethlehem" for Wind Ensemble

11 parts14 pages02:224 years ago1,354 views
Joseph Ignaz Schnabel 1767 - 1831) was a German composer and church musician. Schnabel came from a musical family and was taught music early on by his father. As a child he was a chorister of the church in Wroclaw Vincent and attended by age 12, because he wanted to be a priest, St. Matthias School. By a fall in the water, he retired due to chronic ear problems, so he was no longer considered a career as a suitable priest. Schnabel's compositional output consisted mainly instrumental accompaniment church music. With it, he established a special Silesian tradition, also known as Breslau school, which was widely independent of restorative tendencies still alive until the Second World War. Schnabel's best-known work is his treatment of the archives of the Wrocław Cathedral Weihnachtspastorale found an unknown composers from the early 18th Century, "Transeamus usque Bethlehem" (Travel to Bethelem), which must now be counted in the standard repertoire of many church choirs. Although originally created for accompanied chorus, I created this arrangement for Wind Ensemble (Flutes (2), Oboes (2), Bb Clarinets (2), Bassoon, Contrabassoon, Trombone, French Horn and F Tuba) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

J.S. Bach: Duetto: Gott, du hast es wohl gefüget (BWV 63, #3)

5 parts7 pages06:32a year ago299 views
Oboe, Voice(2), Other woodwinds, Cello
“God, you have well accomplished what now has happened to us. (B sec) Therefore let us always trust in Him and rely upon His grace, for He has bestowed this upon us, which now will delight us for ever. ” (trans. by Pamela Dellal, Emmanuel Music). This exquisite duet for Soprano and Bass (a less common pairing in Bach), in imitation at the octave with sinuous oboe obbligato, is from the Cantata BWV 63, “Christen, ätzet diesen Tag”, (Christians, etch this day (proverbially, in your minds)). It first came to my attention on a Bach Aria Group LP decades ago, performed with operatic technique and a piano continuo, but its slowly-unfolding beauty was immediately apparent. It was about at the tempo I have it. The graceful canon at the lower eleventh (fourth+8va, ~ 5th above) on “Therefore let us build/rely upon His grace” (mm. 27-31), spinning out “bauen” (build), is worthy of study, particularly. the pictorial use of the scalar bass (but also note the “not quite consonant” sonorities on the unfigured second-of-four eighth-notes in 27-28 – engineering tradeoffs). I have realized the continuo on Violoncello and Panflötenorgel. I have not (yet) taken pains to effect articulation in the Piano Roll editor, sorry. Please visit Mike Magatagan's flute-cello-harp interpretation of this duetto -

Gustav Holst — Jig from St. Pauls Suite — in B for Sax Tenor

2 parts7 pages03:596 months ago248 views
Tenor Saxophone, Piano
I am grateful to Mike Magatagan for the excellent arrangement for viola and piano. It is known that viola's parties often fit well on the range of the tenor saxophone. But I didn't expect that such energetic and exciting piece will be so naturally playable! The only thing I had to change is to transpose 1 tone down, because I can't play above F# of the second octave. If you have not this problem, return the piece to its original key. Enjoy!

J.S. Bach – Chorale «Was Gott tut das ist wohlgetan» for AIR Trio & Bass guitar

4 parts3 pages01:464 months ago131 views
Soprano Saxophone, Trumpet, Tenor Saxophone, Bass
There is the page of Mike where I got the source: In Russia, alas, no such instruments as English Horn or Bassoon. Even the oboe is very rare for home playing. So I need regularly alter Mike's arrangements to my favorite pipes. But the baritone saxophone we don't often see at home, so the lower voice, I often replace the bass guitar. Thanks to Mike Magatagan and MuseScore 2.1, I can edit this magical music, making minimal simple changes to the score. The tone of this score is original.

Bach – Chorale Prelude "Christe der du bist Tag und Licht" – AIR Trio & Bass

4 parts3 pages02:325 months ago121 views
Soprano Saxophone, Trumpet, Tenor Saxophone, Bass
This is the Organ's Chorale Prelude. Mike Magatagan arranged it for the Brass Quartet (Trumpet in B, Flugelhorn, French Horn, Tuba in F): This version is for my favorite ensemble, which I'm calling "AIR Trio and Bass".

J.S. Bach – Chorale «Was Gott tut das ist wohlgetan» for Sax Trio & Trumpet

4 parts3 pages01:464 months ago115 views
Soprano Saxophone, Trumpet, Tenor Saxophone, Baritone Saxophone
Sometimes the music immediately want to play. Bach knows how to write such pieces. :-) Thanks to Mike Magatagan and MuseScore 2.1, I can edit this magical music, making minimal simple changes to the score. There is the page of Mike where I got the source: