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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
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MANDOLINE
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TUBA
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VIOLONCELLE
XYLOPHONE
Choral fugue
Non classifié
45
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26
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11
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9
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58
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5
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1
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1
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1
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1
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1
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1
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1
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7
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5
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4
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3
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1
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11
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5
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3
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2
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2
Trio à Cordes: 3 violoncelles
1
Alto (partie séparée)
1
Violon
1
4 Violoncelles
1
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17
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8
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6
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4
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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CORNET
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Vous avez sélectionné:
Choral fugue
Partitions à imprimer
45 partitions trouvées
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1
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Fugue No. 22 In B Flat Minor, Bwv 867
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Classique
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Johann Sebastian Bach
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Nathan Wollmann
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Fugue No. 22 In B Flat Minor,
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Nathan Wollmann
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SheetMusicPlus
Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Interactive Download SKU: A0.546077 Composed by Johann Sebastian Bach. Arranged by Nathan Wollmann....
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Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Interactive Download SKU: A0.546077 Composed by Johann Sebastian Bach. Arranged by Nathan Wollmann. This edition: Interactive Download. Classical. Score and parts. 18 pages. Duration 155. Nathan Wollmann #7jW1lNU2qFmYeJg9K7pQhT. Published by Nathan Wollmann (A0.546077). Key: Bb minor.This fugue is very chorale-like. It is a five voice fugue and so this arrangement is one voice per instrument. Fugues with less voices are often arranged for quintet because keyboard instruments don't have the limitations like breathing and the difficulty of large jumps. The rhythmic simplicity of this fugue though lends itself better to one fugue-voice, one instrument arrangement. Breathing and range may still be a challenge. I believe that Bach voiced fugues and put them in certain keys for good reason, and thus those elements haven't been altered. But there is a lot of voice-crossing in this fugue and I favored comfortable range over maintaining fugue-voice to keep the individual parts as simple as possible.
$4.00
Toccata, Chorale and Fugue - A Cello Ensemble, Op.39 [1986] - Dedicated to Prof.Parisot
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An-lun Huang
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Toccata, Chorale and Fugue - A
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DoReMi Edition
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SheetMusicPlus
String Ensemble - Level 5 - SKU: A0.1081699 Composed by An-lun Huang. 20th Century,Classical,Contemporary,Multicultural,World. Score and parts. 78 pages...
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String Ensemble - Level 5 - SKU: A0.1081699 Composed by An-lun Huang. 20th Century,Classical,Contemporary,Multicultural,World. Score and parts. 78 pages. DoReMi Edition #685820. Published by DoReMi Edition (A0.1081699). “Toccata, Chorale and Fugue†was the last work composed by An-lun Huang during the time he studied at Yale University in 1986. It was commissioned and dedicated to the Yale cello professor Aldo Parisot who premiered the work with more than sixty young cellists at the Banff Art Center, Canada, in 1986. Cello ensemble is a challenge for composer because of the single instrumental color. In this particular work, Huang had made the Chinese music upon to a new level.-- not only melodic sense, but also harmonically and contrapuntal. It consists of three sessions. The first is a virtuoso Toccata, the second is a chorale typed Adagio, and the third is a double Fugue in five voices. Bach‘s name, B-A-C-H, forms the secondary theme of the fugue. The recording attached was performed by Prof. Kirill Rodin(First price of Tchaikovsky Competition) with his students, plus one double bass, in Moscow Conservatory, 2001. Duration:16’ 题献给帕瑞索特教授 托å¡å¡”ã€åœ£å’ä¸Žèµ‹æ ¼ 大æç´åˆå¥ 黄安伦 作å“39（纽黑文 1986） 这是作者1986年在耶é²å°±å¦å†™ä½œçš„最åŽä¸€éƒ¨ä½œå“ï¼Œä¹ƒæ˜¯è¯¥æ ¡è‘—å的帕瑞索特教授所委约并题献给他的一部作å“ã€‚å¸•ç‘žç´¢ç‰¹æ•™æŽˆå¹¶åœ¨åŠ æ‹¿å¤§çš„ç芙国际音ä¹è¥çŽ‡é¢†å…åä½™æ¥è‡ªä¸–ç•Œå„地的大æç´å®¶é¦–演了这部力作。 写作å•ä¸€éŸ³è‰²çš„大æç´åˆä½œï¼Œå¯¹äºŽä½œæ›²å®¶æ˜¯ä¸€ä¸ªæŒ‘战。在这部特别的作å“ä¸ï¼Œæ— 论在和声上ã€æ—‹å¾‹ä¸Šæˆ–是对ä½ä¸Šï¼Œé»„安伦都ç±æ¤ä½œæŠŠä¸å›½éŸ³ä¹æå‡åˆ°ä¸€ä¸ªæ–°çš„高度。 ä¹æ›²ç”±ä¸‰éƒ¨åˆ†ç»„æˆã€‚开头是是一部技巧艰深的托å¡å¡”，ä¸éƒ¨æ˜¯ä¸€é¦–æ…¢æ¿çš„圣å’，而ä¹æ›²åŽéƒ¨åˆ™æ˜¯ä¸€é¦–充满活力的二é‡èµ‹æ ¼ï¼Œå·´èµ«å¤§å的四个德文å—æ¯B-A-C-HåŠå˜å½¢æ£æ˜¯æ¤èµ‹æ ¼çš„第二主题。 所附mp3乃是莫斯科音ä¹å¦é™¢è‘—å的罗金教授带领他的14个å¦ç”Ÿå¤–åŠ ä¸€ä½å€ä½ŽéŸ³æç´æ‰‹äºŽ2002年在莫斯科录制的。.
$39.95
Adagio and Fugue C minor
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Classique
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Wolfgang Amadeus Mozart
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Adagio and Fugue C minor
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Strings - SKU: S9.Q12502 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Score - string music. Eulenburg Miniature Sco...
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Strings - SKU: S9.Q12502 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Score - string music. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q12502. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q12502). Key: C minor. German • English.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$9.99
Toccata & Fugue - Symphony V
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Classique
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Johann Sebastian Bach - Ludwig
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Faraz Khosravi Danesh
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Toccata & Fugue - Symphony
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Faraz Khosravi Danesh
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SheetMusicPlus
Choral Choir - Level 5 - SKU: A0.498163 By Johann Sebastian Bach - Ludwig Van Beethoven. By Johann Sebastian Bach - Ludwig Van Beethoven. Arranged by Fa...
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Choral Choir - Level 5 - SKU: A0.498163 By Johann Sebastian Bach - Ludwig Van Beethoven. By Johann Sebastian Bach - Ludwig Van Beethoven. Arranged by Faraz Khosravi Danesh. A Cappella,Baroque,Classical. Octavo. 14 pages. Faraz Khosravi Danesh #111844. Published by Faraz Khosravi Danesh (A0.498163). This song is arranged in the Acapella genre. This song is a mix of two famous composers.
$5.99
I Dream a World: Fugue
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Dave Brubeck
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I Dream a World: Fugue
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Chorus - SKU: AX.00-PO-0004384 Composed by Dave Brubeck. Lawson Gould Choral. 15 pages. Alfred Music - Digital Sheet Music #00-PO-0004384. Published by ...
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Chorus - SKU: AX.00-PO-0004384 Composed by Dave Brubeck. Lawson Gould Choral. 15 pages. Alfred Music - Digital Sheet Music #00-PO-0004384. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0004384). UPC: 038081336732.
$2.95
The Flu Fugue
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Sally K
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The Flu Fugue
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Chorus - SKU: AX.00-PO-0005587 Composed by Sally K. Albrecht. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0005587. Published by ...
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Chorus - SKU: AX.00-PO-0005587 Composed by Sally K. Albrecht. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0005587. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0005587). UPC: 038081527109.
$1.90
Bach: Wachet auf for Bass Flute & Piano
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Classique
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Johann Sebastian Bach
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James M
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Bach: Wachet auf for Bass Flut
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jmsgu3
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SheetMusicPlus
Bass Flute,Instrumental Solo,Piano - Level 2 - SKU: A0.549846 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Ea...
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Bass Flute,Instrumental Solo,Piano - Level 2 - SKU: A0.549846 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3554877. Published by jmsgu3 (A0.549846). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. &n.
$24.95
Bach: Wachet auf for Oboe d'Amore & Piano
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Classique
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Johann Sebastian Bach
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James M
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Bach: Wachet auf for Oboe d'Am
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.552247 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,...
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.552247 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3554879. Published by jmsgu3 (A0.552247). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. &n.
$24.95
Komm, Jesu, Komm for Trombone or Low Brass Octet
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Classique
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Eric Burger Music
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Komm, Jesu, Komm for Trombone
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Eric Burger Music
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SheetMusicPlus
Brass Ensemble,Chamber Orchestra Euphonium,Trombone,Tuba - Level 5 - SKU: A0.508209 Arranged by Eric Burger Music. Baroque. Score and parts. 40 pages. E...
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Brass Ensemble,Chamber Orchestra Euphonium,Trombone,Tuba - Level 5 - SKU: A0.508209 Arranged by Eric Burger Music. Baroque. Score and parts. 40 pages. Eric Burger Music #3514925. Published by Eric Burger Music (A0.508209). Come, Jesus, Come - BWV 229, Liepzig (1731) It was composed in Leipzig, and received its first performance by 1731–1732. Bach scored the motet for double choir. It was probably composed for a funeral, as others of his motets but exact dates of composition and performance are not known. It is his only motet without biblical text. He set a poem by Paul Thymich, which Johann Schelle set as a funeral aria in 1684. Also unusually, the motet is not closed by a chorale, but by an aria which is harmonized like a chorale. The work has been described as having a confident, intimate and tender character, and making more use of polychorality (interplay of the two choirs) than polyphony (interplay of the voices), containing no fugue. The theme of the text is death as the happy moment when man, tired of earthly life, can confide in Jesus, who is seen as Truth and Life and the only way to eternal life. (From Wikipedia) View the score with playback at:https://youtu.be/iOjStrr-vO8 This quality work is published by Eric Burger Music: www.EricBurgerMusic.com Each of these Trombone and Low Brass Ensemble works is arranged and transcribed with the intent of provide the musician with an opportunity to play works from notable composers otherwise not available to them, using the construct and voicings the compose intended. Please review the video for questions on range and difficulty, or go to my website and download the spreadsheet with ranges, keys, tempos and other important information. If you need parts modified to different clefs or keys, please write me direct at: EricBurgerMusic@gmail.com Custom work also available. If you are unhappy with any of my works, write me directly for a replacement.
$15.00
Sonatina for Flute and Piano
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James Albert Yeager
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Sonatina for Flute and Piano
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James A. Yeager
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SheetMusicPlus
Piano,Soprano Flute - Level 4 - SKU: A0.1499262 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. Score and part. 43 pages. James A. Y...
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Piano,Soprano Flute - Level 4 - SKU: A0.1499262 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. Score and part. 43 pages. James A. Yeager #1075315. Published by James A. Yeager (A0.1499262). Foreword:Each movement revisits classic paradigms— (I & II) ternary song form,(III) theme & variations. The third movement treats the two themes as children at play with games such as tag and hide-and-seek as variations. Both themes become partner songs leading to fugue, which is, after all, the ultimate musical game.Performance Notes:I Moderato, slurs in the flute suggest phrasing but are optional in terms of breathing. The B section at letter C has a canon between flute and piano (left-hand) which suggests imitation in articulations and dynamics. The climax just before letter D can be stretched slightly more than poco rit. implies. II Slowly gently, must not be played slower than indicated. The middle section at letter B begins with a subito forte. At 3 measures before letter C the fermatas allow a certain freedom. When the flute releases the piano can continue the left-hand chord. The piano should use una corda in the bridge at letter C. Elsewhere, the piano may also employ una corda in quiet places ad libitum. At final note the flute can fade to nothing if breath runs out and just remain in pose as the final note of the piano is allowed to vanish.III Majestic with vigour, two given themes from ca. 1934 are Old Abram Brown by Benjamin Britten and Kookabura Sits on the Old Gum Tree by Marion Sinclair and both are rounds for children. The flute boldly declares theme one at the outset. The piano arpeggiations begin sonorously and quiet before letter A. In Variation 1 the piano must begin softer than the low register flute. The piano left-hand upper notes [A, then G, then D-A fifth) may require use of the sostenuto pedal. Variation 2 is a caccia or chase. Variation 3 is a barcarolle where theme 1 is hiding in the flute part. Variation 4 introduces the second theme (flute) in partnership with theme 1 (piano). Four measures before letter I the piano makes an ogre of theme 2 and should be humorously ponderous. The fugue subject might be the teacher who brings everyone into the final partner song of themes. The piece finishes as it began except for a wistful ending.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985). While in Colorado he composed two film scores for student filmmakers as well as choral and organ compositions. He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. He led choirs of all ages from children through the elderly. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano(2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.
$30.00
Bach-Contrapuncti
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Classique
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Johann Sebastian Bach
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Dieter Schnebel
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Bach-Contrapuncti
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Schott Music - Digital
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SheetMusicPlus
20 Vocalists (5S/5A/5T/5B) - difficult - SKU: S9.Q2725 Contrapunctus I from The Art of Fugue. Composed by Johann Sebastian Bach. Arranged by Diet...
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20 Vocalists (5S/5A/5T/5B) - difficult - SKU: S9.Q2725 Contrapunctus I from The Art of Fugue. Composed by Johann Sebastian Bach. Arranged by Dieter Schnebel. This edition: choral score. Downloadable, Choral score. Duration 6 minutes. Schott Music - Digital #Q2725. Published by Schott Music - Digital (S9.Q2725). Written in the 1970s, Dieter Schnebel's arrangements of the Contrapuncti I, VI and XI from Johann Sebastian Bach's The Art of Fugue have long since been considered classics of contemporary choral music and of the cultivation of Bach's music. The works, which have previously been available in manuscript editions only, are now published as new editions in a high-quality, easily legible notation in a convenient standard format which adequately displays the works' polyphony.
$21.99
Bach-Contrapuncti
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Classique
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Johann Sebastian Bach
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Dieter Schnebel
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Bach-Contrapuncti
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Schott Music - Digital
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SheetMusicPlus
20 Vocalists (5S/5A/5T/5B) - difficult - SKU: S9.Q2788 Contrapunctus XI from The Art of Fugue. Composed by Johann Sebastian Bach. Arranged by Die...
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20 Vocalists (5S/5A/5T/5B) - difficult - SKU: S9.Q2788 Contrapunctus XI from The Art of Fugue. Composed by Johann Sebastian Bach. Arranged by Dieter Schnebel. This edition: choral score. Downloadable, choral score. Duration 12 minutes. Schott Music - Digital #Q2788. Published by Schott Music - Digital (S9.Q2788). Written in the 1970s, Dieter Schnebel's arrangements of the Contrapuncti I, VI and XI from Johann Sebastian Bach's The Art of Fugue have long since been considered classics of contemporary choral music and of the cultivation of Bach's music. The works, which have previously been available in manuscript editions only, are now published as new editions in a high-quality, easily legible notation in a convenient standard format which adequately displays the works' polyphony.
$22.99
Bach-Contrapuncti
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Classique
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Johann Sebastian Bach
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Dieter Schnebel
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Bach-Contrapuncti
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Schott Music - Digital
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SheetMusicPlus
20 Vocalists (5S/5A/5T/5B) - difficult - SKU: S9.Q2787 Contrapunctus VI from The Art of Fugue. Composed by Johann Sebastian Bach. Arranged by Die...
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20 Vocalists (5S/5A/5T/5B) - difficult - SKU: S9.Q2787 Contrapunctus VI from The Art of Fugue. Composed by Johann Sebastian Bach. Arranged by Dieter Schnebel. This edition: choral score. Downloadable, Choral score. Duration 5 minutes. Schott Music - Digital #Q2787. Published by Schott Music - Digital (S9.Q2787). Written in the 1970s, Dieter Schnebel's arrangements of the Contrapuncti I, VI and XI from Johann Sebastian Bach's The Art of Fugue have long since been considered classics of contemporary choral music and of the cultivation of Bach's music. The works, which have previously been available in manuscript editions only, are now published as new editions in a high-quality, easily legible notation in a convenient standard format which adequately displays the works' polyphony.
$28.99
Sonata for Piano Quintet
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James Albert Yeager
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Sonata for Piano Quintet
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James A. Yeager
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SheetMusicPlus
Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 9...
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Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 99 pages. James A. Yeager #1075356. Published by James A. Yeager (A0.1499301). Foreword:Each movement revisits classic paradigms—sonata form (I), ternary song form (II), and sonata rondo (III). The three movements of this piano quintet share a common element contained in the seed of a motivic idea—the interplay between the minor and the major 3rd : a tonal ambiguity or conflict of the minor 2nd. Stylistically, this Sonata pays modest homage to neo-classicism of 20th Century composers such as Poulenc (I), Prokofiev, Shostakovich (III), and perhaps even a touch of Gershwin (II). I hope this piano quintet will offer players and their audience chamber music that is a bit unusual yet worthwhile. The Sonata embraces the lightheartedness, the melancholy , and the whimsy of nostalgia. There is no separate piano part.Performance Notes:I Moderately fast, expresses dialogues of themes that move between piano and strings. The playfulness of the exposition (repeat is not optional) can give way to a more passionate building of the development to the climax at letter H. In the recapitulation the longer bridge remains steadily in tempo (no accelerando) relaxing just before letter N and theme two. The coda after letter O is a somber premonition of movement two.II Slowly, the bowings are ad libitum. The viola is chantlike and smooth. Violins glissando like the portamento of the Chinese stringed instruments, the Guqin or the Ehru type glissando leading to a very pure quiet long tones without any vibrato and the resulting fourth should be a pure tuning. The piano can use una corda ad libitum in softer passages, and the pedal (damper) ad libitum. In the B section (Letter D) pianist should treat the 64th notes like an ornament (upper mordent). Strings play the eighths after Letter G accents with strong bow changes. At the end, the piano lingers until the sound vanishes after the strings die away.III Introduction: Quick and spirited, the transition (Introduction) is measured and strict without alteration leading to letter A. The rondo theme, ‘A’ section, can slightly intensify in each successive repetition, but not slavishly. The small waltz or ‘B’ section, Letter C, the quartet might play to resemble a reed organ or harmonium—sweet, sonorous, and harmonious. The ‘C’ section, Letter G, big swell on short bridge passage, then pizz. strings become very rustic and like a peasant dance. Pianist can use una corda ad libitum in soft passages. Violins again after Letter I play similarly to non-vibrato of 2nd movement. The ‘B’ section at Letter L is now the grand waltz slightly faster and more indulgent with tiny rubatos tastefully allowed.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985). He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano (2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.
$40.00
Der Geist hilft unser Schwachheit auf by J.S. Bach for Double Brass Choir
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Der Geist hilft unser Schwachh
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Richard Byrnes
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SheetMusicPlus
Brass Ensemble Euphonium,Trumpet - SKU: A0.830771 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. Score and parts. 102 pages. Ri...
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Brass Ensemble Euphonium,Trumpet - SKU: A0.830771 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. Score and parts. 102 pages. Richard Byrnes #5358305. Published by Richard Byrnes (A0.830771). The motet, Der Geist hilft unser Schwachheit auf (The Spirit gives aid to our weakness) is structured in three sectons. The first, focuses on techniques of imitation between the two choirs. The second section is a fugue. The third is a double fugue in 4 parts. The final section is a choral Du heilige Brunst, süßer Trost. This double brass arrangement is for (3Trp,3Eu/3Trp/3Eu).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$49.00
Der Geist hilft unser Schwachheit auf by J.S. Bach for Double Clarinet Choir
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Der Geist hilft unser Schwachh
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Richard Byrnes
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SheetMusicPlus
Woodwind Ensemble Bass Clarinet - SKU: A0.830772 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages. Richard Byrnes #5359...
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Woodwind Ensemble Bass Clarinet - SKU: A0.830772 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages. Richard Byrnes #5359451. Published by Richard Byrnes (A0.830772). The motet, Der Geist hilft unser Schwachheit auf (The Spirit gives aid to our weakness) is structured in three sectons. The first, focuses on techniques of imitation between the two choirs. The second section is a fugue. The third is a double fugue in 4 parts. The final section is a choral Du heilige Brunst, süßer Trost.This double clarinet arrangement is for (5Cl,BCl/5Cl,BCl).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$49.99
Der Geist hilft unser Schwachheit auf by J.S. Bach for Double Double-reed Choir
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Der Geist hilft unser Schwachh
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Richard Byrnes
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SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - SKU: A0.830773 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages. Richard ...
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Woodwind Ensemble Bassoon,English Horn,Oboe - SKU: A0.830773 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages. Richard Byrnes #5361867. Published by Richard Byrnes (A0.830773). The motet, Der Geist hilft unser Schwachheit auf (The Spirit gives aid to our weakness) is structured in three sectons. The first, focuses on techniques of imitation between the two choirs. The second section is a fugue. The third is a double fugue in 4 parts. The final section is a choral Du heilige Brunst, süßer Trost.This double-reed arrangement is for (2Ob,3EH,Bn/2Ob,3EH,Bn).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$49.99
Der Geist hilft unser Schwachheit auf by J.S. Bach for Double Woodwind Choir
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Der Geist hilft unser Schwachh
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Richard Byrnes
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SheetMusicPlus
Woodwind Ensemble Bassoon,Clarinet,English Horn,Flute - SKU: A0.830776 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages...
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Woodwind Ensemble Bassoon,Clarinet,English Horn,Flute - SKU: A0.830776 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages. Richard Byrnes #5454329. Published by Richard Byrnes (A0.830776). The motet, Der Geist hilft unser Schwachheit auf (The Spirit gives aid to our weakness) is structured in three sectons. The first, focuses on techniques of imitation between the two choirs. The second section is a fugue. The third is a double fugue in 4 parts. The final section is a choral Du heilige Brunst, süßer Trost.This double woodwind choir arrangement is for (2Fl,EH,2Cl,Bn/2Fl,EH,2Cl,Bn).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$49.99
Der Geist hilft unser Schwachheit auf by J.S. Bach for Double Saxophone Choir
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Der Geist hilft unser Schwachh
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Richard Byrnes
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SheetMusicPlus
Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone - SKU: A0.830775 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Ba...
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Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone - SKU: A0.830775 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages. Richard Byrnes #5372107. Published by Richard Byrnes (A0.830775). The motet, Der Geist hilft unser Schwachheit auf (The Spirit gives aid to our weakness) is structured in three sectons. The first, focuses on techniques of imitation between the two choirs. The second section is a fugue. The third is a double fugue in 4 parts. The final section is a choral Du heilige Brunst, süßer Trost.This double saxophone arrangement is for (2S,3A,Bi/2S,3A,Bi).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$49.99
Vegetables
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The Beach Boys
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Julie Hinton
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SSATBB.
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Vegetables
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Red Tape Productions
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SheetMusicPlus
Choral Choir,Choral (5-Part) - Level 3 - SKU: A0.1291362 By The Beach Boys. By Brian Wilson and Van Dyke Parks. Arranged by Julie Hinton. 20th Century,A...
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Choral Choir,Choral (5-Part) - Level 3 - SKU: A0.1291362 By The Beach Boys. By Brian Wilson and Van Dyke Parks. Arranged by Julie Hinton. 20th Century,A Cappella,Contemporary,Contest,Festival,Pop. 8 pages. Red Tape Productions #882013. Published by Red Tape Productions (A0.1291362). SATBB a capella - great for mixed a capella groups or show choirs! This arrangement features a bass pulse rotating between the baritone and bass parts, roving melody often doubling between parts, and opportunities for the tenor (and occasionally baritone) to hit those high notes the Beach Boys are known for. The central half of the song is a fugue where each part gets a moment to shine as they introduce their favorite vegetables. Upbeat and cool, and health-conscious too! Also available in SATB & SSATBB.
$2.25
"Te Deum", op. 5 (parts & vocal score)
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Adrian Gagiu
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"Te Deum", op. 5
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Adrian Gagiu
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SheetMusicPlus
Choral Choir - Level 4 - SKU: A0.1204466 Composed by Adrian Gagiu. 20th Century,Baroque,Christian,Classical. Octavo. 370 pages. Adrian Gagiu #802933. Pu...
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Choral Choir - Level 4 - SKU: A0.1204466 Composed by Adrian Gagiu. 20th Century,Baroque,Christian,Classical. Octavo. 370 pages. Adrian Gagiu #802933. Published by Adrian Gagiu (A0.1204466). The orchestral parts and vocal score of a Neo-Baroque, medium-sized, large scale composition for 4 vocal soloists, mixed chorus in 4 to 8 voices, and full orchestra with organ, setting the traditional canticle text, mostly with church modes and alternating polyphonic intricacies with solemn, intense or profound moments. It would work both for worship and in concert, as it includes powerful outbursts, elaborate counterpoint, and also soft and humble moments, while avoiding any harsh excesses of modernism. Total duration: 46 min. Performing Rights Organization: SOCAN. The audio sample is the 3rd movement. The first two choruses, in 4 parts, follow the general outline of the Baroque French overture: a solemn introduction followed by an elaborate fugue. The 3rd movement is a solemn arioso for bass, followed by a grand chorus in 4 and 5 parts. The 4th movement is an arioso for tenor, followed by a complex chorus in 5 parts. The 5th movement is a suite of two ariosos for alto and soprano, followed by a grand, but brief chorus in 6 parts, and then by a mysterious instrumental evocation of the Last Judgment. The 6th movement is a vocal quartet a cappella, based on a well-known Orthodox hymn and alternated with a refrain for chorus in 7 parts and organ, then followed by a grand choral complex ended in humble supplication. The final, 7th movement is a grand motet for double chorus and orchestra, with four themes more and more intricately combined, up to the majestic coda treated in quadruple counterpoint.
$30.00
I Remember You
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Jo Stafford
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Ivan Pyzow
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I Remember You
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Pyzow! Publishing
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SheetMusicPlus
Choral Choir,Choral (3-Part Mixed) - Level 3 - SKU: A0.1346160 By Jo Stafford. By Johnny Mercer and Victor Schertzinger. Arranged by Ivan Pyzow. 20th Ce...
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Choral Choir,Choral (3-Part Mixed) - Level 3 - SKU: A0.1346160 By Jo Stafford. By Johnny Mercer and Victor Schertzinger. Arranged by Ivan Pyzow. 20th Century,A Cappella,Broadway,Jazz,Musical/Show,Standards. 4 pages. Pyzow! Publishing #930984. Published by Pyzow! Publishing (A0.1346160). 3-voice arrangement with occasional fun reharmonization.For choir or vocal trio.Clear, original melody for the top voice.Creative intro and outro that uses the main motif of the melody in a fugue-like way to outline the harmony.Could be sung with one high voice and two other voices, regardless of gender. Each part only spans a tenth in range, and each part doesn't jump around too much to make learning easier. Many voicings do not include the root, allowing for an even richer sound if performed with a bass player.Chords included.
$1.99
Madrigal Pavane / Timburibá
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Francisco Braga
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Luciano Lima
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Madrigal Pavane / Timburib&aac
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Pub...
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Guitar - Advanced - SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
$7.95
Suite in Olden Style (Downloadable)
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Byron Adams
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Suite in Olden Style
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Organ solo - Medium - SKU: MQ.9245-E Composed by Byron Adams. Score. 20 pages. E. C. Schirmer Music Company - Digital #9245-E. Published by E. C. Schirm...
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Organ solo - Medium - SKU: MQ.9245-E Composed by Byron Adams. Score. 20 pages. E. C. Schirmer Music Company - Digital #9245-E. Published by E. C. Schirmer Music Company - Digital (MQ.9245-E). Byron Adams's Suite in Olden Style for organ solo looks back at Baroque forms in a contemporary manner. This score can be played in its entirety, but each movement can be played singly and in any combination with any other movement as the player sees fit. The four movements that comprise the Suite in Olden Style are appropriate for either a religious service or in recital. The first movement, Sinfonia, is based on the Advent chorale Nun komm, der Heiden Heiland (Savior of the Nations, come). The second movement is a reflective fugue, while the third movement is a pensive Siciliana. The last movement, Rigaudon, is extroverted, lively, and brilliant. Contents:I. SinfoniaII. FugueIII. SicilianaIV. Rigaudon
$15.00
Themes from Schubert's Mass in G for Solo Violin, String Orchestra, and Piano
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Classique
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Franz Schubert
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Bud Caputo
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Themes from Schubert's Mass in
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Bud Caputo
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SheetMusicPlus
String Ensemble - Level 3 - SKU: A0.826694 Composed by Franz Schubert. Arranged by Bud Caputo. Romantic Period,Standards. Score and parts. 29 pages. Bud...
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String Ensemble - Level 3 - SKU: A0.826694 Composed by Franz Schubert. Arranged by Bud Caputo. Romantic Period,Standards. Score and parts. 29 pages. Bud Caputo #4838085. Published by Bud Caputo (A0.826694). The Mass in G by Franz Schubert is one of the most well-known choral works in the repertoire. These three beautiful movements, Kyrie, Hossana, and the Agnus Dei, provide some of Schubert’s most memorable melodies. Directors with young groups who want to feature a violin soloist will find this work well within the reach of intermediate students. Yet, there are demanding concepts to be learned by all. Spiccato bowings and playing in a subdivided four will bring new information to the developing string player. The rhythmic independence required in the short fugue section will provide another challenge. A Violin 3 part is included to bolster the Viola section. The piano part will offer the director an opportunity to add a player for this work. It is part of the work and not the usual for rehearsal purposes only.
$25.00
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Choral fugue
