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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
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Red Cat Quartet
Non classifié
292
Piano & claviers
Piano Quatuor: piano, violon, alto, violoncelle
12
Accompagnement Piano
11
Piano seul
7
Piano Facile
5
Piano Quatuor: piano, 2 violons, violoncelle
4
Piano, Voix
4
Piano, Voix et Guitare
3
Piano Trio: piano, violon, violoncelle
2
1 Piano, 4 mains
1
Clavier
1
+ 5 instrumentations
Retracter
Guitares
4 Guitares (Quatuor)
4
Banjo
1
Guitare
1
Guitare notes et tablatures
1
Ensemble de guitares
1
Ukulele
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
31
Chorale TTBB
12
Chorale SSAA
8
Chorale 2 parties
6
Chorale 3 parties
6
Voix duo, Piano
4
Voix duo
2
Chorale Unison
2
Voix moyenne, Piano
1
+ 4 instrumentations
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Vents
Quatuor de Saxophones: 4 saxophones
165
Flûte, Hautbois, Clarinette, Basson
158
Quatuor de Clarinettes: 4 clarinettes
99
Quatuor de Flûtes : 4 flûtes
59
Ensemble de Clarinettes
12
Quatuor de Flûtes à bec
10
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
10
Ensemble De Flûte à bec
6
Flûte, Clarinette et Basson
6
Quintette de Saxophone: 5 saxophones
5
Flûte, Clarinette, Cor, Basson (Quartet)
5
Ensemble de saxophones
4
Clarinette et Piano
4
Saxophone Tenor et Piano
4
2 Saxophones (duo)
4
Hautbois, Piano (duo)
3
Saxophone Alto et Piano
3
2 Clarinettes (duo)
3
Flûte, Hautbois, Clarinette (trio)
2
Quintette de Clarinettes: 5 clarinettes
2
Trio de Flûtes: 3 flûtes
2
4 Hautbois
2
Flûte, Violon, Violoncelle et Piano
2
2 Flûtes traversières (duo)
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Flûte traversière et Piano
2
3 Clarinettes (trio)
2
Saxophone Baryton, Piano
1
Flûte, Basson et Piano
1
Flûte, Hautbois, Basson
1
Saxophone et Guitare
1
Clarinette
1
Cor anglais, Piano
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte, Violon et Violoncelle
1
Hautbois, Clarinette (duo)
1
Flûte, Violoncelle
1
Clarinette Basse, Piano
1
+ 33 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
94
Quatuor de Cuivres: 2 trompettes, Cor, trombone
56
Quatuor de cuivres: 4 trombones
39
Quatuor de Cuivres
39
Quatuor de cuivres: 4 cors
17
Quatuor de cuivres: 4 trompettes
15
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
4 Tubas
7
Trompette, Trombone (duo)
4
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Tuba et Piano
2
Trompette
2
Trio de Cuivres
1
Ensemble de Trompettes
1
4 Euphoniums
1
2 Trompettes (duo)
1
Trombone et Piano
1
Cor anglais, Piano
1
Cor (partie séparée)
1
Trompette, Piano
1
+ 15 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
492
4 Violoncelles
19
Quatuor à cordes: 4 violons
12
Quatuor à cordes : 4 altos
7
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
Trio à Cordes: 2 violons, violoncelle
6
Violoncelle, Piano
5
Violon, Violoncelle (duo)
5
Alto, Piano
4
Trio à Cordes: violon, alto, violoncelle
4
Violon et Piano
4
Violon
3
Contrebasse, Piano (duo)
3
Violoncelle
3
Trio à cordes: 3 violins
2
Trio à Cordes: 2 violons, alto
2
Alto seul
1
4 Contrebasses
1
2 Violoncelles (duo)
1
Harpe
1
Contre Basse
1
Trio à Cordes: 3 violoncelles
1
Piano Trio: Violon, Alto, Piano
1
2 Violons (duo)
1
Ensemble de Violoncelles
1
Violoncelle, Orchestre
1
+ 21 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
33
Ensemble de cuivres
20
Orchestre de chambre
8
Jazz combo
6
Orchestre d'harmonie
5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Orchestre
3
Cloches
2
Marimba
2
Ensemble Jazz
1
Ensemble de Percussions
1
+ 6 instrumentations
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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
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EUPHONIUM
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
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MANDOLINE
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Red Cat Quartet
Partitions à imprimer
292 partitions trouvées
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276
Flute Quartet in F major, Op.7 No.1 (Weinmann Vb: F1)
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Classique
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Johann Baptist Wanhal
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Uwe Grodd
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Flute Quartet in F major, Op.7
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Artaria Editions
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SheetMusicPlus
Cello,Flute,Viola,Violin - Level 3 - SKU: A0.1488235 Composed by Johann Baptist Wanhal. Arranged by Uwe Grodd. Classical. 52 pages. Artaria Editions #10...
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Cello,Flute,Viola,Violin - Level 3 - SKU: A0.1488235 Composed by Johann Baptist Wanhal. Arranged by Uwe Grodd. Classical. 52 pages. Artaria Editions #1065122. Published by Artaria Editions (A0.1488235). Artaria Editions AE379 The flute writing in Wanhal's quartets is a good deal less virtuosic than the solo writing found in Hofmann's quartets. The principal reason for this lies in the greater equality of part-writing and in this respect Wanhal's quartets are more modern and technically advanced than those of Hofmann. One prime example of this can be seen in Wanhal's adoption of the modern alla breve notation in first movements in preference to the fussy eight-in-a-bar favoured by Hofmann and others. There is also a greater emphasis on the development of thematic material although not to the same extent or intensity that one encounters in the composer's symphonies. In keeping with the conventional practice of the period the flute quartets were conceived to be played with a variety of possible instruments on the top part. The London publisher Welcker, for example, issued the Op. 7 set with the title page Six Quartettes for a / Hautboy or German Flute whereas Sieber styled them Six Quartetto Concertante / Pour une Flute au Hautbois. Copies of several works from the set are preserved in manuscript as string quartets and at least one work as a clarinet quartet. There is good reason to believe that the six flute quartets under consideration were conceived as a set and probably intended for immediate publication. They first appeared under Huberty's imprint in 1771 (as Op.8) and may have been composed reasonably close to the publication date. Whether Wanhal sent the works direct to Huberty is uncertain. It is very interesting to note, however, that Sieber issued the same works in a new edition the following year - it was announced on 28 January 1772 - and this seems to have been the basis for the later (undated) Welcker edition published in London and many of the extant manuscript copies.In the absence of both the autograph score and an authentic set of parts, this edition presents as faithfully as possible the intentions of the composer as transmitted in the Sieber print. A number of variants have been adopted from other sources, notably the Welcker edition, on the rare occasions where they appear more convincing than Sieber's text. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing from the source, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Like most eighteenth-century sources, the present manuscript is inconsistent at in its notation of appoggiature ; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; text underlay, where confused in the source, has been corrected; editorial emendations with no authority from the source are placed within brackets. Paul Bryan, Uwe Grodd
$53.00
HAYDN QUARTETTO No. 2 in G MAJOR Hob II: G4 for flute & strings
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Classique
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Franz Joseph Haydn
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Edited by Pat Spence
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Trio, Adagio &
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HAYDN QUARTETTO No. 2 in G MAJ
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Piper Publications
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SheetMusicPlus
Small Ensemble Cello,Flute,Viola,Violin - Level 4 - SKU: A0.811685 Composed by Franz Joseph Haydn. Arranged by Edited by Pat Spence. Classical,Concert. ...
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Small Ensemble Cello,Flute,Viola,Violin - Level 4 - SKU: A0.811685 Composed by Franz Joseph Haydn. Arranged by Edited by Pat Spence. Classical,Concert. Score and parts. 32 pages. Piper Publications #3662763. Published by Piper Publications (A0.811685). The second of Haydn's opus 5 quartets for flute, violin, viola and cello published by Hummel in 1767. Unlike the first quartet, the cello part is figured though this piece, like the first, does not need a keyboard. The figuring may have been an after thought and would have enabled the amateur players for whom the published edition was intended to play it with the resources available.There are 4 movements, Presto assai, Minuet & Trio, Adagio & Presto assai. The quartet will be enjoyed by good amateur and professional players and makes a good companion piece in a concert with any of the Mozart flute quartets written 20 years later. The quartet has been lightly edited: obvious mistakes have been corrected without comment. Dynamics added in parenthesis ( ), slurs in dashed lines, staccato dots have been continued throughout passages where only the first part of a section or the first player has the phrasing indicated. The final chords of both sections of the final movement in the original Hummel edition were given different note lengths: the cello a quaver/8th note, viola and violin crotchet/quarter note and the flute a dotted crotchet/quarter note. In both instances all parts play a crotchet/quarter note. The reason for this is unclear; it may have been a Haydn joke comment on the idiosyncrasies of the players or possibly an adjustment for the acoustics of the room in which the piece was played. It seems to have been deliberate because it appears only at the final cadence of both sections.
$25.00
Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Strings - Level 3 - SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Publishe...
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Strings - Level 3 - SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Published by jmsgu3 (A0.549209). Instrumentation: Two string quartets arranged antiphonally. Full Score: 28 pgs. Study Score: 14 pgs. Instrumental parts: 2 pg. ea. Duration: ca. 3:00. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. www.jamesguthrie.com.
$47.95
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Quarto movimento (Quartetto)
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Leonardo Leo
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Guido Menestrina
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Leonardo Leo - Dixit Dominus a
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Guido Menestrina
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SheetMusicPlus
Small Ensemble Cello,High Voice,Low Voice,Oboe,Viola,Violin - Level 3 - SKU: A0.828718 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappell...
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Small Ensemble Cello,High Voice,Low Voice,Oboe,Viola,Violin - Level 3 - SKU: A0.828718 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella. Score and parts. 22 pages. Guido Menestrina #516705. Published by Guido Menestrina (A0.828718). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Quarto movimento Transcribed by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà . Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà , poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: https://youtu.be/qjcFrb638VI or listen to it on soundcloud: https://soundcloud.com/guido-menestrina/leonardo-leo-dixit-dominus-4a-parte-quartetto Score includes: - full score - strings part - oboi par.
$12.99
Mussorgsky: Pictures at an Exhibition for Piano Quartet - 2nd Edition - Score Only
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Modest Petrovich Mussorgsky
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James M
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Mussorgsky: Pictures at an Exh
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jmsgu3
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SheetMusicPlus
Piano Quartet - Level 5 - SKU: A0.1397796 Composed by Modest Petrovich Mussorgsky. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,H...
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Piano Quartet - Level 5 - SKU: A0.1397796 Composed by Modest Petrovich Mussorgsky. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Historic,Romantic Period. 104 pages. Jmsgu3 #981065. Published by jmsgu3 (A0.1397796). The Second edition features more textural variety and interplay between the strings and piano.Mussorgsky is known for his ability to evoke vivid pictures through his music. He creates soundscapes that transport listeners to other places and times. Using complex harmonies and shifting tonalities, Mussorgsky creates sonic paintings that are as diverse and varied as any works of art in a museum. He takes listeners on a journey through different landscapes and environments, ranging from pastoral settings to the underworld depths. In his famous suite, Pictures at an Exhibition, Mussorgsky gives each movement a title referencing a painting, sculpture, or architectural feature from an art museum. The suite is composed to capture the moods and emotions the artworks evoke. From the bright and energetic Promenade to the somber and mysterious Catacombs, Mussorgsky's Pictures at an Exhibition paints a vivid sonic landscape that brings the listener into the art museum.The composition was inspired by a visit to an art exhibition featuring the works of Mussorgsky's friend, the Russian artist Viktor Hartmann. The Pictures at an Exhibition pieces aim to capture the sketches, watercolors, and architectural designs displayed at the exhibition. Mussorgsky links the suite's movements to depict the viewer's progress through the exhibition. Two Promenade movements serve as portals to the various pictures, representing the composer himself strolling through the exhibition. Mussorgsky and Hartmann were devoted to the cause of an intrinsically Russian art, and their friendship likely developed in the home of the influential critic Vladimir Stasov, who followed both of their careers with interest. Mussorgsky's original composition is known for its multi-layered music imbued with energy and vitality, requiring the performer to move between soothing melodies, humorous tunes, and pounding rhythms. The suite's diverse range of musical styles and moods is a testament to Mussorgsky's skill as a composer.Pictures at an Exhibition (Картинки Ñ Ð²Ñ‹Ñтавки) by Modest PetroviÄ Musorgskij, 1874(МодеÑÑ‚ Петрович МуÑоргÑкий) Arranged for Piano Quartet by James M. Guthrie (Ð”Ð¶ÐµÐ¹Ð¼Ñ Ðœ. Гатри)Score: 103 pages, 924 measures, duration: 34:30. Contents: Promenade 1 Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto 1. GNOMUS (The Gnome) Sempre vivo  Promenade 2 Moderato commodo assai e con delicatezza  2. IL VECCHIO CASTELLO (The Old Castle) Andante molto cantabile e con dolore  Promenade 3 Moderato non tanto, pesamente  3. TUILLERIES Dispute d'enfants après jeux (Children's Quarrel after Games)   Allegretto non troppo, capriccioso 4. BYDLO (Cattle) Sempre moderato pesante Promenade 4 Tranquillo 5. Ballet of the Unhatched Chicks Балет невылупившихÑÑ Ð¿Ñ‚ÐµÐ½Ñ†Ð¾Ð²  Scherzino 6. Samuel Goldenberg und Schmuÿle  Еврей в меховой шапке. Cандомир Andante Promenade 5 Allegro giusto, nel modo russico, poco sostenuto 7. LIMOGES. LE MARCHÉ. (La grande nouvelle) The Market (The Great News)   Allegretto vivo, sempre scherzando 8. CATACOMBAE (Sepulchrum romanum) (Roman Tomb) ПарижÑкие катакомбы Largo    CON MORTUIS IN LINGUA MORTUA (With the Dead in a Dead Language)   Andante non troppo, con lamento 9. The Hut on Hen's Legs (Baba Yaga) Избушка Бабы-Яги на курьих ожках. ЧаÑÑ‹ в руÑÑком Ñтиле   Allegro con brio, feroce  10. The Bogatyr Gates (In the Capital in Kiev) Проект городÑких ворот в Киеве. Главный фаÑадThe Great Gates of Kiev Allegro alla breve Maestoso con grandezza.
$32.95
Eternal Father, Strong to Save - for Brass Quartet
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Musique Sacrée
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John Bacchus Dykes
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Michele Galvagno
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Eternal Father, Strong to Save
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Horn,Trombone,Trumpet - Level 2 - SKU: A0.1112593 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,A Cappella,Patriotic,Praise...
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Horn,Trombone,Trumpet - Level 2 - SKU: A0.1112593 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,A Cappella,Patriotic,Praise & Worship,Sacred. 18 pages. Artistic Score Engraving di Galvagno Michele #714601. Published by Artistic Score Engraving di Galvagno Michele (A0.1112593). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825—1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823—1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.
$4.50
Solage: Le basile for Brass Quartet
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Solage, Late 14th Century
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James M
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Solage: Le basile for Brass Qu
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jmsgu3
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SheetMusicPlus
Brass Quartet Cornet,Horn,Trombone - Level 2 - SKU: A0.1266016 Composed by Solage, Late 14th Century. Arranged by James M. Guthrie. Chamber,Contest,Earl...
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Brass Quartet Cornet,Horn,Trombone - Level 2 - SKU: A0.1266016 Composed by Solage, Late 14th Century. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 8 pages. Jmsgu3 #858750. Published by jmsgu3 (A0.1266016). Solage's ballade Le basile de sa propre nature is a significant work in the history of medieval music. Here are some of its historical significances:It is one of the twelve surviving works attributed to Solage, a French composer who lived in the late 14th century. Solage's works are known for their complex rhythms, intricate harmonies, and expressive melodies.Le basile de sa propre nature is a four-voice ballade that features a text about the mythical creature known as the basilisk. The lyrics describe the basilisk as a monster that kills everything it sees with its deadly venom. The music is characterized by its intricate rhythms and harmonies, which reflect the text's vivid imagery.The ballade is preserved in the Chantilly Codex, a manuscript that contains a collection of French secular music from the late 14th century. The Chantilly Codex is one of the most important sources of medieval music, and it provides valuable insights into the musical practices of the time.Le basile de sa propre nature is an example of the Ars subtilior style, which was a highly experimental and complex musical style that emerged in the late 14th century. This style was characterized by its use of intricate rhythms, complex harmonies, and unusual notational practices. The Ars subtilior style was highly influential in the development of later musical styles, and it remains an important part of the medieval musical canon.Overall, Solage's ballade Le basile de sa propre nature is a significant work that reflects the complex and experimental musical practices of the late 14th century. Its vivid imagery, intricate rhythms, and complex harmonies make it a valuable contribution to the medieval musical canon.Lyrics:All those he sees he kills suddenly,For his venom is deadly.He is a basilisk by his own nature,And he has no other way of being. He is a monster of great power,And he is feared by all who know him.He is a creature of the earth,And he is a master of death. He is a basilisk by his own nature,And he has no other way of being.All those he sees he kills suddenly,For his venom is deadly. He is a creature of the night,And he is a master of the dark.He is a monster of great might,And he is feared by all who hear his name. He is a basilisk by his own nature,And he has no other way of being.All those he sees he kills suddenly,For his venom is deadly.Solage was a French composer and probably also a poet who lived in the late 14th century. He composed the most pieces in the Chantilly Codex, which is the principal source of music of the ars subtilior, a manneristic compositional school centered on Avignon at the end of the century. Solage is an obscure composer, and aside from what can be deduced from the pieces attributed to him in the Chantilly Codex, nothing else is known about him. There are several interpretations of his name, and it is not clear whether his first name was Jean or Charles.  The ars subtilior was a manneristic compositional school centered on Avignon at the end of the 14th century. It was characterized by complex rhythms and pitch, and it was a transitional period between the late medieval and Renaissance periods. Solage was one of the composers who fit into this school, and he composed the most pieces in the Chantilly Codex, which is the principal source of music of the ars subtilior. Stylistically, Solage's works exhibit two distinctly different characters: a relatively simple one usually associated with his great predecessor and elder contemporary Guillaume de Machaut, and a more recherché one, complex in the areas of both pitch and rhythm, characteristic of the ars subtilior.
$32.95
Solage: Le basile for Double Reed Quartet
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Solage
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James M
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Solage: Le basile for Double R
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Bassoon,Double Reed Quartet,English Horn - Level 2 - SKU: A0.1266448 Composed by Solage. Arranged by James M. Guthrie. Chamber,Contest...
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Woodwind Ensemble Bassoon,Double Reed Quartet,English Horn - Level 2 - SKU: A0.1266448 Composed by Solage. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Holiday. 8 pages. Jmsgu3 #859185. Published by jmsgu3 (A0.1266448). Solage's ballade Le basile de sa propre nature is a significant work in the history of medieval music. Here are some of its historical significances:1. It is one of the twelve surviving works attributed to Solage, a French composer who lived in the late 14th century. Solage's works are known for their complex rhythms, intricate harmonies, and expressive melodies.2. Le basile de sa propre nature is a four-voice ballade that features a text about the mythical creature known as the basilisk. The lyrics describe the basilisk as a monster that kills everything it sees with its deadly venom. The music is characterized by its intricate rhythms and harmonies, which reflect the text's vivid imagery.3. The ballade is preserved in the Chantilly Codex, a manuscript that contains a collection of French secular music from the late 14th century. The Chantilly Codex is one of the most important sources of medieval music, and it provides valuable insights into the musical practices of the time.4. Le basile de sa propre nature is an example of the Ars subtilior style, which was a highly experimental and complex musical style that emerged in the late 14th century. This style was characterized by its use of intricate rhythms, complex harmonies, and unusual notational practices. The Ars subtilior style was highly influential in the development of later musical styles, and it remains an important part of the medieval musical canon.Overall, Solage's ballade Le basile de sa propre nature is a significant work that reflects the complex and experimental musical practices of the late 14th century. Its vivid imagery, intricate rhythms, and complex harmonies make it a valuable contribution to the medieval musical canon.Lyrics:All those he sees he kills suddenly,For his venom is deadly.He is a basilisk by his own nature,And he has no other way of being. He is a monster of great power,And he is feared by all who know him.He is a creature of the earth,And he is a master of death. He is a basilisk by his own nature,And he has no other way of being.All those he sees he kills suddenly,For his venom is deadly. He is a creature of the night,And he is a master of the dark.He is a monster of great might,And he is feared by all who hear his name. He is a basilisk by his own nature,And he has no other way of being.All those he sees he kills suddenly,For his venom is deadly.Solage was a French composer and probably also a poet who lived in the late 14th century. He composed the most pieces in the Chantilly Codex, which is the principal source of music of the ars subtilior, a manneristic compositional school centered on Avignon at the end of the century. Solage is an obscure composer, and aside from what can be deduced from the pieces attributed to him in the Chantilly Codex, nothing else is known about him. There are several interpretations of his name, and it is not clear whether his first name was Jean or Charles.  The ars subtilior was a manneristic compositional school centered on Avignon at the end of the 14th century. It was characterized by complex rhythms and pitch, and it was a transitional period between the late medieval and Renaissance periods. Solage was one of the composers who fit into this school, and he composed the most pieces in the Chantilly Codex, which is the principal source of music of the ars subtilior. Stylistically, Solage's works exhibit two distinctly different characters: a relatively simple one usually associated with his great predecessor and elder contemporary Guillaume de Machaut, and a more recherché one, complex in the areas of both pitch and rhythm, characteristic of the ars subtilior.Â
$32.95
Two Brahms Quartets for Brass Quartet
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Classique
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Johannes Brahms
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Adam Lenhart
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Two Brahms Quartets for Brass
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Adam Lenhart
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SheetMusicPlus
Horn,Organ,Piano Accompaniment,Trombone,Trumpet - Level 2 - SKU: A0.949379 Composed by Johannes Brahms. Arranged by Adam Lenhart. Romantic Period. 39 pa...
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Horn,Organ,Piano Accompaniment,Trombone,Trumpet - Level 2 - SKU: A0.949379 Composed by Johannes Brahms. Arranged by Adam Lenhart. Romantic Period. 39 pages. Adam Lenhart #5294179. Published by Adam Lenhart (A0.949379). In this arrangement, two of Brahms most famous and beautiful quartets have been set to brass quartet with piano or organ accompaniment. Included is Wie lieblich sind deine Wohnungen (How lovely are thy dwellings), the fourth movement from A German Requiem, to words of the Holy Scriptures, Op. 45, and Der Gang zum Liebchen (Journey to thy beloved) from Three Quartets, Op. 31. It should be noted that Trumpet I is required to execute a high Bb, which may be difficult for less experience players.Includes full score and individual parts for both quartets.This set of quartets is also available for the following chamber ensembles:Flute Quartet (4 Flutes with opt. Piccolo)Flute Choir (Piccolo, Concert, Alto and Bass Flute)Oboe Quartet (Oboe, Violin, Viola and Cello)Clarinet Quartet (2 Bb Clarinets, Alto and Bass Clarinet; or 3 Bb Clarinets and Bass Clarinet)Saxophone Quartet (Soprano, Alto, Tenor and Baritone Saxophone; or 2 Alto Saxophones, Tenor and Baritone Saxophone)Brass Quartet (2 Bb Trumpets, F Horn and Trombone)Woodwind Quartet (Flute, Oboe, Bb Clarinet and Bassoon)String Quartet (2 Violins, Viola and Cello)---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Association’s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Men’s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$9.99
Quintet for Trombone and Saxophone Quartet
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Contemporain
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Albam, Manny
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Quintet for Trombone and Saxop
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Gordon Cherry
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SheetMusicPlus
Small Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone,Trombone - Level 5 - SKU: A0.810744 Composed by Albam, Manny. Contemporary. Score and p...
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Small Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone,Trombone - Level 5 - SKU: A0.810744 Composed by Albam, Manny. Contemporary. Score and parts. 90 pages. Gordon Cherry #2151213. Published by Gordon Cherry (A0.810744). Manny Albam's Quintet for solo Trombone and Saxophone Quartet in four movements is a work for virtuoso performers about 14 minutes in length. Movement one is fast and contains sharp rhythms and contrasting undulating scales ending in mysterious quiet. Movement two is slow and soft using offset and layered tone clusters in the saxes under a lyrical and non-tonal Trombone line. Later, the saxes are given long lines of soft clashing 1/16th note non-tonal scales. Movement three is for Piccolo, Flute, Clarinet and Bassoon as the saxes move to the their studio doubles. There are sax parts supplied for non-doublers. This movement is fast and mixes up slurred and staccato chromatic licks. Movement four is also fast and features long quasi-chromatic ascending scales. Manny composed this work in 2001 for Trombonist Jim Pugh and The American Saxophone Quartet.
$40.00
Ave Maris Stella arr. for woodwind quartet
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Anonymous
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Ruth Raubertas
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Ave Maris Stella arr. for wood
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White Bird Music
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,Oboe - Level 2 - SKU: A0.1411123 Composed by Anonymous. Arranged by Ruth Raubertas. Chamber,Classical,Early M...
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Woodwind Ensemble,Woodwind Quartet Bassoon,Oboe - Level 2 - SKU: A0.1411123 Composed by Anonymous. Arranged by Ruth Raubertas. Chamber,Classical,Early Music,Medieval,Sacred. 3 pages. White Bird Music #993445. Published by White Bird Music (A0.1411123). This is a short woodwind quartet featuring a Gregorian melody on oboe with harmony provided by an additional oboe and 2 bassoons. Â It is meant to be played in a free chant style with rubato; however, mixed meters are provided to give an approximate idea of the counting. Â This piece would be suitable for a school or church setting and is derived from ancient sacred music written for the Catholic Church. Â It is quite an easy piece in D Dorian mode, thus no sharps or flats. Â The quiet beauty of this piece is suitable for meditative or concert use. Â An interlude of gentle improvisation could be added with a repeat of the theme at the end if a longer piece is desired (permission to do that hereby granted). Â Students, teachers and church music directors as well as professional musicians looking for a short easy work may find this a useful addition to their repertoire. Â (Please note: Â the audio recording is a guide and does not necessarily reflect the proper phrasing as indicated in the score.).
$4.99
Fanfare Quartets
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Musique Sacrée
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Gospel Spirituel
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Various
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Charles Priest
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Fanfare Quartets
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Charles Priest
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SheetMusicPlus
Small Ensemble B-Flat Trumpet,Timpani - Level 4 - SKU: A0.922493 Composed by Various. Arranged by Charles Priest. Christian,Gospel,Sacred. Score and par...
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Small Ensemble B-Flat Trumpet,Timpani - Level 4 - SKU: A0.922493 Composed by Various. Arranged by Charles Priest. Christian,Gospel,Sacred. Score and parts. 60 pages. Charles Priest #5041141. Published by Charles Priest (A0.922493). These fanfares are written as hymn introductions for worship. Each piece is in the key commonly found in hymnals for that particular hymn tune, though the meter varies. Performance tempos should be close to that desired for lively, majestic congregational singing, though they need not be identical. Most of these fanfares should be played forte as appropriate to the acoustics of the performance space. There are some instances where dynamics are specified for the purposes of contrast, though the final decision is up to the performers.Trumpets and timpani have been partnered for centuries as a symbol of majesty and glory. Some of these fanfares can be played without timpani, but they are best played with them.The difficulty level for the trumpet players is intermediate-advanced. Most of the challenges will be in the occasional mixed meter and using the entire range of the trumpet. There is no hierarchy of parts, as the fourth trumpet may very well lead or play above other trumpet parts.Trumpets and timpani can be placed anywhere, but will be especially effective when playing antiphonally or from another location (like a balcony).
$40.00
15 Favourite Hymns for Thanksgiving and Harvest for Double Reed Quartet
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Musique Sacrée
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Various
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David McKeown
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15 Favourite Hymns for Thanksg
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David McKeown
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 2 - SKU: A0.590387 Composed by Various. Arranged by David McKeown. Christian,Holida...
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Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 2 - SKU: A0.590387 Composed by Various. Arranged by David McKeown. Christian,Holiday,Praise & Worship,Sacred. 60 pages. David McKeown #6209649. Published by David McKeown (A0.590387). 15 Favourite Hymns for Thanksgiving and Harvest for Double Reed Quartet is a beautiful collection of well-known traditional Thanksgiving and Harvest hymns. They are arranged in four parts for two Oboes, Cor Anglais (or English Horn) and Bassoon. Separate parts are included with the score in one single pdf file.15 Favourite Hymns for Thanksgiving and Harvest for Double Reed Quartet are simply arranged in easy keys and are fun to play for musicians with a year or two’s experience and above. Teachers and students alike will find 15 Favourite Hymns for Thanksgiving and Harvest for Double Reed Quartet useful for building ensemble, reading and rhythmic skills.The hymns are in alphabetical order and are as follows…· All Things Bright and Beautiful, (The 29thMay)· Come Thou Fount of Every Blessing, (Nettleton)· Come, Ye Thankful People Come, (St George’s, Windsor)· Count Your Blessings, (Blessings)· For All the Blessings of the Year, (Oldbridge)· For the Beauty of the Earth, (Dix)· Now Thank We All Our God, (Nun Danket)· O Store Gud, (Trad. Swedish)· Rejoice Today with One Accord, (Ein Feste Burg)· Praise God from Whom All Blessings Flow, (Old Hundredth)· Praise My Soul, the King of Heaven, (Laude Anima)· Praise to the Lord, the Almighty, (Lobe den Herren)· We Gather Together, (Kremser)· We Plough the Fields and Scatter, (Wir Pflügen)· When Morning Gilds the Skies, (Laudes Domini) There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$9.99
Five Traditional Folksongs for Wind Quartet
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Malcolm Crane
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Five Traditional Folksongs for
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Forton Music - Digital
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SheetMusicPlus
Fl. Ob. Cl. Bsn. - Intermediate - SKU: F2.FM545 Composed by Malcolm Crane. Wind Quartet - Flute, Oboe, Clarinet and Bassoon. Score and parts. 51 pages. ...
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Fl. Ob. Cl. Bsn. - Intermediate - SKU: F2.FM545 Composed by Malcolm Crane. Wind Quartet - Flute, Oboe, Clarinet and Bassoon. Score and parts. 51 pages. Forton Music - Digital #FM545. Published by Forton Music - Digital (F2.FM545). ISBN 9790570484447.'Just As The Tide Was A'Flowin' is a simple arrangement which should be performed accordingly. Make sure the melody is always prominent whichever instrument takes it. 'The Salley Gardens' is of Irish origin with words by W.B. Yeats. I have tried to create a rather dream-like atmosphere; the quaver passages should flow smoothly with the phrasing well observed. 'The Wraggle-Taggle Gypsies' should rollick along with good contrast between the slurred and staccato notes. 'The Water Is Wide', although of Scottish origin, was included in Cecil Sharpe's 'Folk Songs from Somerset'. It's in a contemplative style; again, make sure the melody line is never over-powered by the other instruments. 'Drunken Sailor' should be played with great humour, preferably after a few tots of rum!
$15.95
Rondo Alla Turca (Turkish March) | Brass Quartet (w/ piano)
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Classique
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Wolfgang Amadeus Mozart
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Benzaiten Editions
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Rondo Alla Turca
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Benzaiten Editions
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SheetMusicPlus
B-Flat Trumpet,Trombone,Tuba - Level 4 - SKU: A0.1283783 Composed by Wolfgang Amadeus Mozart. Arranged by Benzaiten Editions. 19th Century,Chamber,Class...
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B-Flat Trumpet,Trombone,Tuba - Level 4 - SKU: A0.1283783 Composed by Wolfgang Amadeus Mozart. Arranged by Benzaiten Editions. 19th Century,Chamber,Classical,Multicultural,World. 21 pages. Benzaiten Editions #874974. Published by Benzaiten Editions (A0.1283783). Hey! Are you a brass player who wants to learn how to play Rondo Alla Turca (Turkish March) by Mozart? It's your lucky day! 🎵Rondo Alla Turca (Turkish March) - Brass Quartet Sheet Music and piano The Benzaiten Editions Brass Quartet Arrangement Embark on a musical journey to the exotic and lively world of Mozart's Rondo Alla Turca with our captivating brass quartet sheet music! This vibrant and spirited piece, also known as the Turkish March, is a delightful showcase of Mozart's genius and is sure to enchant both players and audiences alike. Our arrangement of Rondo Alla Turca for brass quartet brings out the playful and energetic nature of the composition while maintaining the grandeur of Mozart's original work. The interplay of violins, viola, and cello creates a harmonious tapestry of sound that captures the essence of this famous march. Perfect for brass quartets seeking to explore classical masterpieces or add a touch of excitement to their repertoire, our sheet music strikes a balance between accessibility and musicality. About Turkish March Rondo Alla Turca is the exhilarating final movement from Mozart's Piano Sonata No. 11, often referred to as the Turkish March. The piece exudes a sense of adventure and flair, evoking images of the lively and exotic sounds of Turkey. Mozart's intricate melodies and rhythmic patterns showcase his unparalleled compositional skill, making this march a true gem of classical music. As you and your brass quartet perform Rondo Alla Turca, you'll whisk your listeners away to a world of vivacious dance and sparkling melodies. The quartet's collective artistry will breathe new life into this timeless composition, transporting audiences to the heart of Mozart's musical genius. Whether you're a seasoned quartet seeking to dazzle your audience or simply passionate about exploring classical treasures, Rondo Alla Turca offers an unforgettable musical experience that will leave a lasting impression. Embark on a musical adventure with our captivating brass quartet sheet music for Mozart's Rondo Alla Turca and bring the excitement and brilliance of this Turkish March to life like never before. Get ready to delight and thrill your audience with the effervescent charm of Mozart's genius!
$12.99
Rondo Alla Turca (Turkish March) | Sax Quartet (w/ piano)
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Classique
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Wolfgang Amadeus Mozart
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Benzaiten Editions
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Rondo Alla Turca
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Benzaiten Editions
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SheetMusicPlus
Alto Saxophone,Baritone Saxophone,Piano Accompaniment,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.1283780 Composed by Wolfgang Amadeus Mozart....
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Alto Saxophone,Baritone Saxophone,Piano Accompaniment,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.1283780 Composed by Wolfgang Amadeus Mozart. Arranged by Benzaiten Editions. 19th Century,Chamber,Classical,Multicultural,World. 21 pages. Benzaiten Editions #874971. Published by Benzaiten Editions (A0.1283780). Hey! Are you a sax player who wants to learn how to play Rondo Alla Turca (Turkish March) by Mozart? It's your lucky day! 🎵Rondo Alla Turca (Turkish March) - Sax Quartet Sheet Music with piano The Benzaiten Editions Sax Quartet Arrangement Embark on a musical journey to the exotic and lively world of Mozart's Rondo Alla Turca with our captivating saxophone quartet sheet music! This vibrant and spirited piece, also known as the Turkish March, is a delightful showcase of Mozart's genius and is sure to enchant both players and audiences alike. Our arrangement of Rondo Alla Turca for sax quartet brings out the playful and energetic nature of the composition while maintaining the grandeur of Mozart's original work. The interplay of violins, viola, and cello creates a harmonious tapestry of sound that captures the essence of this famous march. Perfect for saxophone quartets seeking to explore classical masterpieces or add a touch of excitement to their repertoire, our sheet music strikes a balance between accessibility and musicality. About Turkish March Rondo Alla Turca is the exhilarating final movement from Mozart's Piano Sonata No. 11, often referred to as the Turkish March. The piece exudes a sense of adventure and flair, evoking images of the lively and exotic sounds of Turkey. Mozart's intricate melodies and rhythmic patterns showcase his unparalleled compositional skill, making this march a true gem of classical music. As you and your sax quartet perform Rondo Alla Turca, you'll whisk your listeners away to a world of vivacious dance and sparkling melodies. The quartet's collective artistry will breathe new life into this timeless composition, transporting audiences to the heart of Mozart's musical genius. Whether you're a seasoned quartet seeking to dazzle your audience or simply passionate about exploring classical treasures, Rondo Alla Turca offers an unforgettable musical experience that will leave a lasting impression. Embark on a musical adventure with our captivating saxophone quartet sheet music for Mozart's Rondo Alla Turca and bring the excitement and brilliance of this Turkish March to life like never before. Get ready to delight and thrill your audience with the effervescent charm of Mozart's genius!
$12.99
Responde Mihi by Josquin Des Prez, - Mixed Flute Quartet
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Josquin des Prez
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Kenneth Chia
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Responde Mihi by Josquin Des P
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Tuning Fork Music PLT
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SheetMusicPlus
Woodwind Ensemble Flute - Level 2 - SKU: A0.922021 Composed by Josquin des Prez. Arranged by Kenneth Chia. Renaissance,Sacred. 17 pages. Tuning Fork Mus...
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Woodwind Ensemble Flute - Level 2 - SKU: A0.922021 Composed by Josquin des Prez. Arranged by Kenneth Chia. Renaissance,Sacred. 17 pages. Tuning Fork Music PLT #6471831. Published by Tuning Fork Music PLT (A0.922021). It is our pleasure to introduce to you an arrangement of Responde Mihi, a motet by the great Franco-Flemish Renaissance-era composer Josquin Des Prez. The original piece by Josquin was a music setting of verses from the Book of Job, Chapter 13, verses 22 through 28. These verses are part of the 4th lesson from the 9 lessons from the Offices of the Dead that are published in the Liber Usualis. The Latin text is as follows:Responde mihi: quantas habeo iniquitates et peccata,scelera mea et delicta ostende mihi.Cur faciem tuam abscondis et arbitraris me inimicum tuum?Contra folium quid vento rapitur, ostendis potentiam tuam,et stipulam seccam persequeris?Scribis enim contra me amaritudines,et consumere me vis peccatis adolescentiae meae,Posuisti in nervo pedem meum,et observasti omnes semitas meas,et vestigia pedum meorum considerasti:qui quasi putredo consumendus sum,et quasi vestimentum quod comeditur a tinea.which translates to:Answer thou me, how great iniquities, and sins I have,my wicked deeds, and my offences shew thou me.Why hidest thou thy face and thinkest me thine enemy?Against the leaf that is violently taken with the wind,thou shewest thy might, and persecutest dry stubble.For thou writest bitterness against me,and wilt consume me with the sins of my youth.Thou hast put my foot in band,and hast observed all my paths, and hast considered the steps of my feet.Who as rottenness am to be consumed, and as a garmentthat is eaten of the moth.--This arrangement is about 6'30 in length, and has been arranged for piccolo, 2 flutes, and alto flute. The original ending has been altered to resolve in a manner so that this piece can function as a standalone piece.
$9.99
Machaut: Le Messe de Nostre Dame for Brass Quartet
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Guillaume de Machaut, 1300-137
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James M
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Machaut: Le Messe de Nostre Da
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jmsgu3
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SheetMusicPlus
Brass Quartet Cornet,Horn,Trombone - Level 2 - SKU: A0.1257210 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber...
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Brass Quartet Cornet,Horn,Trombone - Level 2 - SKU: A0.1257210 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 83 pages. Jmsgu3 #850538. Published by jmsgu3 (A0.1257210). INSTRUMENTATION: Cornet, French Horn & 2 Trombones1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are pretty lengthy. Therefore, Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for its uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. Although the Gloria and Credo have no apparent chant basis, they are stylistically related. The mass is unified, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was a vital part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval and religious music.
$74.95
Machaut: La Messe de Nostre Dame for Double Reed Quartet
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Guillaume de Machaut, 1300-137
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James M
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Machaut: La Messe de Nostre Da
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn - Level 2 - SKU: A0.1258422 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Gu...
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Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn - Level 2 - SKU: A0.1258422 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 84 pages. Jmsgu3 #851675. Published by jmsgu3 (A0.1258422). INSTRUMENTATION: 2 ENGLISH HORNS and 2 BASSOONS1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons:1. It is the first complete setting of the Ordinary of the Mass by a single composer that has survived.2. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.3. It was composed in four voices, which was unusual at the time.4. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen.Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$74.95
Prelude from "Aida" for Flute Quartet - Score & Parts
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Francesco Leone
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Francesco Leone
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Prelude from "Aida"
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Glissato Edizioni Musicali
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Flute,Bass Flute - Level 3 - SKU: A0.1508278 By Francesco Leone. By Giuseppe Verdi. Arranged by Francesco Leone....
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Woodwind Ensemble,Woodwind Quartet Alto Flute,Bass Flute - Level 3 - SKU: A0.1508278 By Francesco Leone. By Giuseppe Verdi. Arranged by Francesco Leone. Opera. 21 pages. Glissato Edizioni Musicali #1083579. Published by Glissato Edizioni Musicali (A0.1508278). Experience the hauntingly beautiful prelude from Giuseppe Verdi's opera Aida with this exquisite transcription for Flute Quartet by Francesco Leone. Designed for intermediate-level musicians, this arrangement captures the emotional depth and delicate nuances of Verdi's original composition, bringing its timeless beauty to your flute ensemble.Includes:Full ScoreSet of Parts (4):C Flute 1C Flute 2G Alto FluteC Bass FluteFeatures:Emotional Depth: Francesco Leone's transcription preserves the delicate and haunting melodies of Verdi's prelude, ensuring a moving and expressive performance.Intermediate Level: This arrangement is tailored for intermediate-level flutists, providing a balanced challenge that is both rewarding and accessible.Comprehensive Package: Includes a full score and individual parts for each member of the quartet, facilitating a smooth rehearsal and performance process.Why Choose This Transcription? This transcription is perfect for flute quartets looking to explore the rich traditions of operatic music and add a piece of profound beauty to their repertoire. Whether for concerts, recitals, or special events, the prelude from Aida arranged by Francesco Leone offers a captivating and inspiring musical experience.Bring the serene and expressive sounds of Giuseppe Verdi's Aida prelude to your flute quartet and enchant audiences with this timeless masterpiece. Get your copy today and let Verdi's music inspire your next performance!
$15.00
Elite Syncopations - Flute Quartet score & parts
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Francesco Leone
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Francesco Leone
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Elite Syncopations - Flute Qua
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Glissato Edizioni Musicali
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Flute - Level 3 - SKU: A0.1508256 By Francesco Leone. By Scott Joplin. Arranged by Francesco Leone. Ragtime. 22 ...
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Woodwind Ensemble,Woodwind Quartet Alto Flute - Level 3 - SKU: A0.1508256 By Francesco Leone. By Scott Joplin. Arranged by Francesco Leone. Ragtime. 22 pages. Glissato Edizioni Musicali #1083555. Published by Glissato Edizioni Musicali (A0.1508256). Experience the lively and intricate rhythms of Scott Joplin's Elite Syncopations, expertly transcribed for Flute Quartet by Francesco Leone. Perfect for intermediate-level musicians, this arrangement brings the joyful spirit and melodic charm of Joplin's ragtime classic to your flute ensemble.Includes:Full ScoreSet of Parts (5):C Flute 1C Flute 2C Flute 3C Flute 4Optional G Alto Flute (instead of Flute 4)Features:Authentic Ragtime Feel: Francesco Leone's transcription preserves the syncopated rhythms and engaging melodies of Joplin's original composition, ensuring a dynamic and entertaining performance.Intermediate Level: This arrangement is tailored for intermediate-level flutists, providing a balanced challenge that is both rewarding and accessible.Flexible Instrumentation: The inclusion of an optional part for G Alto Flute provides flexibility in ensemble configuration, accommodating different instrumental setups.Comprehensive Package: Includes a full score and individual parts for each member of the quartet, facilitating a smooth rehearsal and performance process.Audio Demo Available: Listen to an audio demo of this arrangement on www.glissato.it to preview its lively and rhythmic sound.Why Choose This Transcription? This transcription is perfect for flute quartets looking to explore the rich traditions of ragtime music and add a piece of American musical history to their repertoire. Whether for concerts, recitals, or community events, Elite Syncopations arranged by Francesco Leone offers a captivating and enjoyable musical experience.Bring the spirited and rhythmic sounds of Scott Joplin's Elite Syncopations to your flute quartet and enchant audiences with this timeless ragtime masterpiece. Get your copy today and let Joplin's music inspire your next performance!
$14.00
Two Brahms Quartets for Oboe Quartet
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Classique
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Johannes Brahms
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Adam Lenhart
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Two Brahms Quartets for Oboe Q
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Adam Lenhart
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SheetMusicPlus
Cello,Oboe,Organ,Piano Accompaniment,Viola,Violin - Level 2 - SKU: A0.949376 Composed by Johannes Brahms. Arranged by Adam Lenhart. Romantic Period. 43 ...
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Cello,Oboe,Organ,Piano Accompaniment,Viola,Violin - Level 2 - SKU: A0.949376 Composed by Johannes Brahms. Arranged by Adam Lenhart. Romantic Period. 43 pages. Adam Lenhart #5290325. Published by Adam Lenhart (A0.949376). In this arrangement, two of Brahms most famous and beautiful quartets have been set to oboe quartet with piano or organ accompaniment. Included is Wie lieblich sind deine Wohnungen (How lovely are thy dwellings), the fourth movement from A German Requiem, to words of the Holy Scriptures, Op. 45, and Der Gang zum Liebchen (Journey to thy beloved) from Three Quartets, Op. 31. These quartets have been arranged to be performed by all levels of musicians in a variety of settings.Includes full score and individual parts for both quartets.This set of quartets is also available for the following chamber ensembles:Flute Quartet (4 Flutes with opt. Piccolo)Flute Choir (Piccolo, Concert, Alto and Bass Flute)Oboe Quartet (Oboe, Violin, Viola and Cello)Clarinet Quartet (2 Bb Clarinets, Alto and Bass Clarinet; or 3 Bb Clarinets and Bass Clarinet)Saxophone Quartet (Soprano, Alto, Tenor and Baritone Saxophone; or 2 Alto Saxophones, Tenor and Baritone Saxophone)Brass Quartet (2 Bb Trumpets, F Horn and Trombone)Woodwind Quartet (Flute, Oboe, Bb Clarinet and Bassoon)String Quartet (2 Violins, Viola and Cello)---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Association’s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Men’s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$9.99
Beethoven Symphony 7 Movement 2 Allegretto for Brass Quartet Horn in F Euphonium Trombone Tuba
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Classique
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Ludwig van Beethoven
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Woods Only
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Beethoven Symphony 7 Movement
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Woods Only, Arrangements
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SheetMusicPlus
Brass Ensemble Euphonium,Horn,Trombone,Tuba - Level 1 - SKU: A0.956851 Composed by Ludwig van Beethoven. Arranged by Woods Only. Concert,Film/TV,Instruc...
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Brass Ensemble Euphonium,Horn,Trombone,Tuba - Level 1 - SKU: A0.956851 Composed by Ludwig van Beethoven. Arranged by Woods Only. Concert,Film/TV,Instructional,Romantic Period,World. 10 pages. Woods Only, Arrangements #6414803. Published by Woods Only, Arrangements (A0.956851). This version has been adapted and facilitated for a small instrumental quartet, this arrangement is ideal for beginners in music or children who need to practice together. Music educators or music schools can use this material as a pedagogical tool to teach classes or even use as repertoire for recitals. The theme has been reduced to approximately 3 minutes and 24 seconds, where the first voice does the melody while the remaining three do the rhythmic marking along with the harmony.Ludwig van Beethoven's Symphony No. 7 in A major Op. 92 was written in mid-1811 while he was in the spa town of Teplice, Bohemia hoping to regain his health. It was completed in 1812, and was dedicated to Count Moritz von Fries. It had its premiere at a charity concert for soldiers wounded at the battle of Hanau, Vienna during the Napoleonic wars, under the conductor of the composer himself.
$9.99
Beethoven Symphony No 7 Movement 2 for Brass Quartet 2 Trumpets Horn in F and Tuba
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Classique
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Ludwig van Beethoven
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Woods Only
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Beethoven Symphony No 7 Moveme
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Woods Only, Arrangements
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SheetMusicPlus
Level 1 - SKU: A0.956846 Composed by Ludwig van Beethoven. Arranged by Woods Only. Concert,Film/TV,Instructional,Romantic Period,World. 10 pages. Woods ...
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Level 1 - SKU: A0.956846 Composed by Ludwig van Beethoven. Arranged by Woods Only. Concert,Film/TV,Instructional,Romantic Period,World. 10 pages. Woods Only, Arrangements #6414291. Published by Woods Only, Arrangements (A0.956846). This version has been adapted and facilitated for a small instrumental quartet, this arrangement is ideal for beginners in music or children who need to practice together. Music educators or music schools can use this material as a pedagogical tool to teach classes or even use as repertoire for recitals. The theme has been reduced to approximately 3 minutes and 24 seconds, where the first voice does the melody while the remaining three do the rhythmic marking along with the harmony.Ludwig van Beethoven's Symphony No. 7 in A major Op. 92 was written in mid-1811 while he was in the spa town of Teplice, Bohemia hoping to regain his health. It was completed in 1812, and was dedicated to Count Moritz von Fries. It had its premiere at a charity concert for soldiers wounded at the battle of Hanau, Vienna during the Napoleonic wars, under the conductor of the composer himself.
$9.99
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Red Cat Quartet
