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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
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207
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160
Piano seul
150
Piano, Voix et Guitare
132
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79
Piano Facile
36
2 Pianos, 4 mains
21
Piano grosses notes
6
1 Piano, 4 mains
5
Accompagnement Piano
5
Piano Trio: piano, violon, violoncelle
4
Orgue
3
Accordéon
2
Ligne De Mélodie, Piano
1
+ 8 instrumentations
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Ligne De Mélodie, (Paroles) et Accords
126
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42
Guitare
10
Ukulele
8
Mandoline
1
Basse électrique (partie séparée)
1
+ 1 instrumentations
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Voix
Pack Instrumental pour Chorale
25
Chorale SATB
19
Chorale 2 parties
2
Chorale SSAA
2
Voix Soprano, Piano
1
Chorale 3 parties
1
Voix haute
1
+ 2 instrumentations
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Vents
Saxophone Alto
14
Hautbois, Basson (duo)
12
Saxophone Tenor
12
Clarinette
10
2 Saxophones (duo)
8
Clarinette, Guitare (duo)
7
Flûte et Guitare
6
Clarinette (partie séparée)
6
Flûte traversière
6
Saxophone Soprano
5
2 Flûtes traversières (duo)
5
Flûte, Clarinette (duo)
5
Flûte, Hautbois, Clarinette, Basson
4
Saxophone Baryton
4
Hautbois, Clarinette (duo)
4
Saxophone Alto et Piano
4
Quatuor de Saxophones: 4 saxophones
4
Clarinette, Basson (duo)
4
Flûte, Violon
4
Clarinette et Piano
4
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
4
Flûte, Violon, Piano
3
Saxophone, Clarinette (duo)
3
Flûte, Trompette (duo)
3
2 Clarinettes (duo)
3
Flute (partie séparée)
3
Saxophone (partie séparée)
3
2 Hautbois (duo)
2
Clarinette, Violon (duo)
2
Cor anglais, Guitare (duo)
2
Saxophone Soprano et Piano
2
Saxophone et Guitare
2
Flûte, Saxophone (duo)
2
Clarinette, Trompette (duo)
2
2 Flûte à bec (duo)
2
Saxophone Tenor et Piano
2
Flûte, Violoncelle
2
Ensemble de saxophones
2
Hautbois, Piano (duo)
2
Clarinette, Violoncelle (duo)
2
2 Clarinettes, Piano
1
Flûte, Violoncelle, Piano (trio)
1
Quintette de Saxophone: 5 saxophones
1
Hautbois, Violoncelle
1
2 Hautbois, Piano
1
Trio de Flûtes: 3 flûtes
1
Clarinette et Alto
1
Flûte, Alto (duo)
1
Flûte traversière, Orchestre
1
Flûte, Trombone (duo)
1
Clarinette, Harpe (duo)
1
Flûte à bec Alto, Basse continue
1
Quintette de Flûte : 5 flûtes
1
2 Cors Anglais Et Pianoforte
1
Flûte, Violon et Violoncelle
1
Piccolo
1
Hautbois, Flûte
1
Saxophone
1
2 Saxophones, Piano
1
Flûte, Clarinette, Piano (trio)
1
Flûte traversière et Piano
1
2 Flûtes traversières, Piano
1
Instruments en Mib
1
+ 58 instrumentations
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Cuivres
Bass Clef Instruments
12
Cor
11
Instruments en Sib
11
2 Cors (duo)
7
Trompette
7
Trombone (partie séparée)
5
Trompette (partie séparée)
5
Trompette, Piano
4
Trombone
4
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
2 Trombones (duo)
3
Cor anglais, Guitare (duo)
2
Trompette, Saxophone (duo)
2
Trompette, Trombone (duo)
2
Trompette, Violoncelle (duo)
2
2 Trompettes (duo)
2
2 Tubas (duo)
2
Tuba (partie séparée)
2
Instruments en Fa
2
Trompette, Tuba (duo)
2
Cor, Tuba (duo)
2
Trombone et Piano
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
Cor et Basson (duo)
1
Trombone, Cor (duo)
1
2 Cors Anglais Et Pianoforte
1
Cor et Piano
1
Trompette, Cor (duo)
1
Tuba ou Euphonium ou Saxhorn
1
Trompette, Harpe
1
2 Cors, Piano
1
Quatuor de cuivres: 4 trombones
1
Cor (partie séparée)
1
Trombone, Tuba (duo)
1
Cor et Harpe
1
+ 31 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
24
Violon, Violoncelle (duo)
23
Violon
17
Violon et Piano
11
Violon, Alto (duo)
10
Alto seul
7
Trio à Cordes: 2 violons, violoncelle
7
Violoncelle
7
Alto, Violoncelle (duo)
6
2 Violons (duo)
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
Violoncelle, Piano
4
2 Violoncelles (duo)
4
Violon (partie séparée)
4
Alto, Piano
3
Harpe, Violon (duo)
3
Piano Trio: Violon, Alto, Piano
2
Contrebasse (partie séparée)
2
2 Altos, Piano
2
2 Altos (duo)
2
Violoncelle (partie séparée)
2
Violon, Guitare (duo)
2
Violoncelle , Guitare (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
Alto, Guitare (duo)
1
Alto et Harpe
1
Harpe, Flûte (duo)
1
Alto et Basson
1
+ 23 instrumentations
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Ensemble de cuivres
9
Orchestre
6
Percussion
4
Orchestre d'harmonie
3
Ensemble de Percussions
3
Ensemble Jazz
3
Batterie
2
Orchestre de chambre
2
Percussion (partie séparée)
2
Cloches
2
Xylophone
1
Orchestre à Cordes
1
Timbales
1
Jazz combo
1
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ACCORDEON
ALTO
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Vous avez sélectionné:
Lover - Eb Instrument
Quatuor de Saxophones: 4 saxophones
Partitions à imprimer
4 partitions trouvées
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1
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, bari
#
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: A0.532734 Composed by Johann Seb...
(+)
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
#
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: A0.532735 Composed by Johann Seb...
(+)
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
#
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: A0.532733 Composed by Johann Seb...
(+)
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
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