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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
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UKULELE
VIBRAPHONE
VIOLON
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XYLOPHONE
Hope Publishing Digital
Non classifié
2 428
Piano & claviers
Piano seul
285
Orgue
86
Piano, Voix
37
Piano Facile
33
1 Piano, 4 mains
19
Orgue, Piano (duo)
18
Instruments en Do
9
Clavier
9
Orgue, Trompette (duo)
7
Piano, Voix et Guitare
3
2 Pianos, 4 mains
1
Orgue, Voix
1
Ensemble de Pianos
1
+ 8 instrumentations
Retracter
Guitares
Guitare
5
Ukulele
3
Mandoline
3
Guitare notes et tablatures
2
3 Guitares (trio)
2
Banjo
1
Ligne De Mélodie, (Paroles) et Accords
1
Mandoline, Piano (duo)
1
+ 3 instrumentations
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Voix
Chorale SATB
1 117
Chorale 3 parties
185
Chorale 2 parties
96
Chorale Unison
53
Chorale
46
Voix duo
26
Chorale TTBB
16
Voix duo, Piano
9
Voix seule
7
Voix moyenne, Piano
5
Chorale SSATB
4
Chorale SSAA
2
Chorale SSATTB
2
Voix basse
1
Voix haute
1
Soli, choeur mixte et accompagnement
1
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1
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1
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1
Voix Moyenne
1
+ 15 instrumentations
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Vents
Flûte traversière et Piano
18
Saxophone Alto et Piano
11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
11
Quatuor de Saxophones: 4 saxophones
10
Saxophone Soprano et Piano
9
2 Flûtes traversières (duo)
5
Ensemble de Flûtes
5
Ensemble de Clarinettes
4
Flûte traversière
4
2 Saxophones (duo)
3
Clarinette et Piano
3
Ocarina
3
2 Clarinettes (duo)
3
Quatuor de Flûtes : 4 flûtes
3
Quintette de Clarinettes: 5 clarinettes
3
Hautbois, Piano (duo)
3
Hautbois, Basson (duo)
2
Quintette de Flûte : 5 flûtes
2
Clarinette, Basson (duo)
2
Harmonica
2
Quintette de Saxophone: 5 saxophones
2
Flûte à bec Soprano
2
Flûte, Hautbois, Clarinette, Basson
2
Clarinette
1
Flûte à bec Alto
1
Flûte, Trompette (duo)
1
Saxophone Alto
1
Clarinette Basse, Piano
1
Flûte et Trio à cordes
1
Flûte traversière, Orgue (duo)
1
Saxophone Tenor
1
Saxophone Tenor et Piano
1
Quatuor de Clarinettes: 4 clarinettes
1
Saxophone (partie séparée)
1
Hautbois (partie séparée)
1
3 Clarinettes (trio)
1
Saxophone Baryton, Piano
1
Hautbois, Guitare (duo)
1
Flûte et Guitare
1
+ 34 instrumentations
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Cuivres
Trompette
7
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
4
Trompette, Piano
4
Tuba et Piano
4
Trompette, Trombone (duo)
2
2 Cors (duo)
2
Trombone
2
Trombone et Piano
2
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
2 Trompettes, Clavier (piano ou orgue)
1
2 Trompettes (duo)
1
Cor et Piano
1
+ 7 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
18
Violon et Piano
10
Violon
7
Contre Basse
3
Violoncelle, Piano
3
Violon, Violoncelle (duo)
3
Harpe
3
Alto, Violoncelle (duo)
2
Violoncelle
2
Alto, Piano
2
Trio à Cordes: violon, alto, violoncelle
2
2 Violoncelles (duo)
1
Contrebasse, Piano (duo)
1
Alto seul
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
+ 10 instrumentations
Retracter
Orchestre & Percussions
Cloches
1 144
Orchestre
65
Orchestre à Cordes
49
Batterie
7
Ensemble de cuivres
5
Orchestre de chambre
5
Orchestre d'harmonie
4
Marimba et Orgue
2
Marimba
1
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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
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Vous avez sélectionné:
Hope Publishing Digital
Quatuor de Saxophones: 4 saxophones
Partitions à imprimer
10 partitions trouvées
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1
High Hopes
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE
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Pop musique
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Panic! At the Disco
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High Hopes
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LPC Publishers
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SheetMusicPlus
By Panic! At the Disco. By Brendon Urie, Ilsey Juber, Jacob Sinclair, Jenny Owen Youngs, Jonas Jeberg, Lauren Pritchard, Samuel Hollander, Tayla Parx,...
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By Panic! At the Disco. By Brendon Urie, Ilsey Juber, Jacob Sinclair, Jenny Owen Youngs, Jonas Jeberg, Lauren Pritchard, Samuel Hollander, Tayla Parx, Taylor Parks, and William Lobban Bean. Arranged by Jeremy Corcoran. Pop. 18 pages. LPC Publishers #4362335. Published by LPC Publishers
$15.00
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, bari
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
#
Classique
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Johann Sebastian Bach
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Paul Wehage
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Johann Sebastian Bach/Wehage G
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Musik Fabrik Music Publishing
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532734 Composed by Johann Seb...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532734 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 21 pages. Musik Fabrik Music Publishing #1917. Published by Musik Fabrik Music Publishing (A0.532734). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, sopr
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Johann Sebastian Bach
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Paul Wehage
#
Johann Sebastian Bach/Wehage G
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532735 Composed by Johann Seb...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532735 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 24 pages. Musik Fabrik Music Publishing #1921. Published by Musik Fabrik Music Publishing (A0.532735). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, alto
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Johann Sebastian Bach
#
Paul Wehage
#
Johann Sebastian Bach/Wehage G
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532733 Composed by Johann Seb...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532733 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 22 pages. Musik Fabrik Music Publishing #1919. Published by Musik Fabrik Music Publishing (A0.532733). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, teno
#
Quatuor de Saxophones: 4 saxophones
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Johann Sebastian Bach
#
Paul Wehage
#
Johann Sebastian Bach/Wehage G
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532736 Composed by Johann Seb...
(+)
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532736 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 21 pages. Musik Fabrik Music Publishing #1923. Published by Musik Fabrik Music Publishing (A0.532736). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
J. S. Bach: The Art of The Fugue, - SATB saxophone quartet
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Quatuor de Saxophones: 4 saxophones
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AVANCÉ
#
Classique
#
Johann Sebastian Bach
#
Paul Wehage
#
J. S. Bach: The Art of The Fug
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 5 - SKU: A0.534350 Composed by Johann Seb...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 5 - SKU: A0.534350 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Concert,Standards. 242 pages. Musik Fabrik Music Publishing #3368447. Published by Musik Fabrik Music Publishing (A0.534350). The Art of the Fugue is considered to be one of the greatest musical creations everundertaken. A series of fourteen fugues (last of which is not complete) and four canonswhich are all based on the same d minor theme would perhaps seem, at first glance, to be apendantic academic exercise. However, in the hands of a composer such as Bach, themonothematic material is magnified through repetion which creates a sound universe whichis all it’s own.The work is also shrouded in mystery, as there are no tempo indications in the manuscript,no indications of the instrumentation which Bach intended and no clear indication as to theorder of the movements. An ordering was given to the work after the composer’s death bythe composer’s son, C. P. E. BACH which attempted to underline the pedogogical aspects ofthe composition (as a sort of a textbook for studying fugues and counterpoint). The orderused in this arrangement respects this ordering as it was given by Bach’s heirs. It wouldseem probable however, that this order was not that intended by Bach.The editor hopes that this new version of the Art of the Fugue will be useful in allowingSaxophonists everywhere to perform this great work. For those who might have scruplesabout performing this work on the saxophone, it is best to follow the example of our pianistfriends, who perform this work and others on an instrument that Bach himself said that hedisliked.
$64.95
I Should Be So Lucky
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Quatuor de Saxophones: 4 saxophones
#
INTERMÉDIAIRE/AVANCÉ
#
Kylie Minogue
#
Russell Ward
#
I Should Be So Lucky
#
Russell Ward
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.999557 By Kylie Minogue. By M...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.999557 By Kylie Minogue. By Matt Aitken and Mike Stock. Arranged by Russell Ward. Dance,Pop. 8 pages. Russell Ward #6047143. Published by Russell Ward (A0.999557). This is the 2nd Movement from my Saxophone Quartet tribute to popular 1980'/90's UK songwriting team Stock, Aitken and Waterman. The work features four of Stock, Aitken and Waterman's best known tunes from their Golden Era in the late 1980's arranged for Saxophone Quartet in the form of a 4 movement work, with elements of Pachelbel's canon underpinning many of the themes throughout. The 2nd movement here features the Kylie Minogue hit Love in the First Degree Be sure to check out the other movements also available here on my Sheet Music Plus publisher page https://www.sheetmusicplus.com/publishers/russell-ward/17598: I: Allegro Moderato - Love in the First Degree II: Scherzo – I Should Be So Lucky III: Adagio – Never Gonna Give You Up IV: Vivace – Together Forever Please email me if you happen to perform this work in it's entirety - I'd love to hear from you. I hope you enjoy performing it as much as I've enjoyed arranging it. Russell Ward rgeward@yahoo.com.au
$14.99
Together Forever
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Jimmy Fallon
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Russell Ward
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Together Forever
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Russell Ward
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.999560 By Jimmy Fallon. By Ma...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.999560 By Jimmy Fallon. By Matthew Aitken, Michael Stock, Pete Waterman, and Peter Alan Waterman. Arranged by Russell Ward. Contemporary. 16 pages. Russell Ward #6047155. Published by Russell Ward (A0.999560). This is the 4th and final Movement from my Saxophone Quartet tribute to popular 1980'/90's UK songwriting team Stock, Aitken and Waterman. The work features four of Stock, Aitken and Waterman's best known tunes from their Golden Era in the late 1980's arranged for Saxophone Quartet in the form of a 4 movement work, with elements of Pachelbel's canon underpinning many of the themes throughout. Be sure to check out the other movements also available here on my Sheet Music Plus publisher page https://www.sheetmusicplus.com/publishers/russell-ward/17598: I: Allegro Moderato - Love in the First Degree II: Scherzo – I Should Be So Lucky III: Adagio – Never Gonna Give You Up IV: Vivace – Together Forever Please email me if you happen to perform this work in it's entirety - I'd love to hear from you. I hope you enjoy performing it as much as I've enjoyed arranging it. Russell Ward rgeward@yahoo.com.au
$14.99
Love In The First Degree
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Sushi
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Russell Ward
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Love In The First Degree
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Russell Ward
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.999556 By Sushi. By Keren Woo...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.999556 By Sushi. By Keren Woodward, Matt Aitken, Matthew Aitken, Michael Stock, Mike Stock, Pete Waterman, Peter Alan Waterman, Peter Waterman, Sarah Dallin, Siobhan Fahey, and Siobhan Maire Deirdre Fahey. Arranged by Russell Ward. Contemporary. 8 pages. Russell Ward #6047135. Published by Russell Ward (A0.999556). This is the First Movement from my Saxophone Quartet tribute to popular 1980'/90's UK songwriting team Stock, Aitken and Waterman. The work features four of Stock, Aitken and Waterman's best known tunes from their Golden Era in the late 1980's arranged for Saxophone Quartet in the form of a 4 movement work, with elements of Pachelbel's canon underpinning many of the themes throughout. The opening movement here features the Bananarama hit Love in the First Degree Be sure to check out the other movements also available here on my Sheet Music Plus publisher page https://www.sheetmusicplus.com/publishers/russell-ward/17598: I: Allegro Moderato - Love in the First Degree II: Scherzo – I Should Be So Lucky III: Adagio – Never Gonna Give You Up IV: Vivace – Together Forever Please email me if you happen to perform this work in it's entirety - I'd love to hear from you. I hope you enjoy performing it as much as I've enjoyed arranging it. Russell Ward rgeward@yahoo.com.au
$14.99
Süßer die Glocken nie klingen - German Christmas Song - Saxophone Quartet
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE
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Noël
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Traditional
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Thomas Graf
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Süßer die Glocken n
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.568068 Composed by Tradition...
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.568068 Composed by Traditional. Arranged by Thomas Graf. Christmas,Jazz,Multicultural,World. 12 pages. Thomas Graf - the-hit-factory.com #2551499. Published by Thomas Graf - the-hit-factory.com (A0.568068). Sweeter the bells never sound a well-known German Christmas carol dating from the 19th century. The text is written to the German theologian and educator Friedrich Wilhelm Kritzinger (1816-1890). The melody comes from a Thuringian folk song before 1826. The song creates a hopeful and healing atmosphere. The bell sound is a symbol of peace, joy and Christmas joy. This arrangement goes through different styles and atmospheres and features every instrument. Instrumentation: Part I (Soprano/Alto), Part II (Alto), Part III (Tenor), Part IV (Baritone/Bass Sax)  Listen to the recording - a challenge for your ensemble. Check out our latest uploads: http://www.sheetmusicplus.com/publishers/thomas-graf-the-hit-factory-com/smp-press/3001412+1303131?N...       Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic  New catalog included (2016,9 pages) Video: https://youtu.be/J7IM69naGIw
$14.99
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