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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
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BOUZOUKI
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278
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70
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21
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14
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8
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6
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3
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1
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1
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41
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19
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61
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11
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3
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2
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1
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1
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42
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12
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11
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9
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9
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7
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5
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5
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4
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4
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2
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2
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1
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1
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1
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1
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1
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1
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1
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19
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7
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7
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6
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6
Trompette, Trombone (duo)
5
Trompette
4
Cor et Piano
3
Trio de Cuivres
2
Trombone
2
Tuba
2
3 Euphoniums
1
2 Trompettes (duo)
1
Tuba et Piano
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161
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142
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120
Violon
109
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21
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15
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11
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8
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7
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4
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3
2 Violoncelles (duo)
3
Contrebasse, Piano (duo)
2
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2
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2
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2
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1
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1
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1
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1
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104
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66
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36
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8
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7
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7
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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 TRAVERSI…
FORMATION MUSI…
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GUITARE LAP ST…
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HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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The Boar's Head Carol - Woodwind Quintet - Intermediate
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE
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Noël
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Traditional English Carol
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Dennis Ruello
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The Boar's Head Carol - Woodwi
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Chicory Music
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 3 - SKU: A0.734425 Composed by Traditional English Carol. Arranged by Dennis Ruello. Christmas,Holiday,Renais...
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Woodwind Ensemble,Woodwind Quintet - Level 3 - SKU: A0.734425 Composed by Traditional English Carol. Arranged by Dennis Ruello. Christmas,Holiday,Renaissance,Sacred,Standards. 10 pages. Chicory Music #5370963. Published by Chicory Music (A0.734425). The Boar's Head CarolThis Christmas carol talks about a feast during midwinter in which a wild boar was served as the main dish and its head placed in a situated position to symbolize bravery and abundance. Closely related to the Norse tradition of boar sacrifice to their goddess Freyja during the feast of Winter Solstice, this song originated from an urban legend in Queen's College, Oxford back in the 15th century which tells of how a scholar from Queen’s College managed to kill an attacking boar and offered it at dinner.The song was first published in English during the 1520’s in a book entitled Christmase Carolles Newly Emprynted at London in the flete street, which was written by Jan van Wynken de Worde. It is also said to be the very 1st Christmas carol to ever be publish in English because it dates back that early.Although the modern versions of the song makes no mention of Christmas, the original verses does so in The boar's head we bring with song, in worship of Him that thus sprung, of a Virgin to redress all wrong; NoelThis Intermediate Level arrangement starts out in Bb Major and modulates to C Major for the final chorus Performance time approx. 1 minute 45 seconds.
$9.99
Wind Quintet - One Rule
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Mike Lyons
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Wind Quintet - One Rule
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Lyons Music Services
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. P...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. Published by Lyons Music Services (A0.767553). This brand-new piece for wind quintet came about through the coronavirus lockdown and my observations of our UK politicians and how they behaved (One rule for them...) In terms of the music, each line is related to other lines through patterns of 5, 7 or 9 beats (or half beats). Each repetition of the pattern starts with all the instruments in that particular group playing on the first beat. As the music progresses and develops, motifs appear out of the combinations of these beats with each other. Gradually, these patterns and motifs develop melodies which then form the backbone of the piece. The first section (I hesitate to use the term movement) labelled Plotting develops a character of wiliness. It represents, in its twisting strands, the plotting of politicians to aggrandise themselves. The bottom 3 parts form an 'undercurrent' to the music as the 5,7 and 9 beat counts overlap and process. The flute and oboe, meanwhile, generate the first melodic strand - which becomes important in the later movements. The opening quaver patterns are passed around the whole ensemble, keeping the rhythmic pulse going. It slips between the anchoring notes of the lower 3 parts, as well as being essential to the development of the flute and oboe melodic material and stopping the bassoon part being too boring! The long winding, rising and falling line on the oboe and flute is deliberately ambiguous in its tonality, leading one to feel it strives upwards, but then loses its way. The frequent dissonances as this line crosses itself in the other parts represents the effect of all the plotting on ordinary people. Before letter B, there are a couple of brief hints of Dies Irae, but I didn’t want that idea to dominate too much. After B and into C, we get the day-to-day chitchat in Westminster, with interjections from many voices proclaiming their message, trying to persuade their colleagues and just leading to confusion and tonal extremism. From letter C to the end of the section is an extended accel/stretto as the discussion gets more heated. Section 2 is titled Scheming. The tempo is faster than the previous section, but the pace is slower. More motives have formed and developed organically out of the rhythm and pitch patterns. The 5/7/9 cross rhythms are now at double speed, giving a fiercer drive to the music. The bassoon and horn, for now, adhere to the longer pulse of the first section, providing something of a harmonic underpinning. At bar 101, the long but now slightly broken narrative line of the first movement returns in modified form. This now provides a backdrop for the rhythmic bartering and ‘back and forth’ of the political day. The section reaches a climax as the political bickering becomes rowdier. Section 3 begins in a relatively happy mood. The bassoon has a jolly capering little motif, later taken up by other members of the ensemble. There are hints of English folk tune-ness in the resulting conversation, perhaps emphasised by the overlays of this pleasant melody from letter D. Letter E is a ‘turning point’ as all the rhythmic pulses finally align again. This is the first time all five parts have played on the same beat since the opening. At Letter G, a pulsing drone is added to the mix, using the quaver version of the pulse. Perhaps representing the soring of politicians. There is a parallel drone added at letter H, these drones use the 5 (bassoon) and 7 (horn) beat pulses. The result is a solid underpinning of the rhythmic and melodic ideas in the upper 3 parts. After letter I comes a reprise of the spritely bassoon motif with dissonant harmonies as the discussion becomes more heated. The little semiquaver figures have the rhythm Mr. Speaker as members of the house shout for attention. In the repeat bars, we hear the Speaker shout Order! Letter J provides an altered reprise of the begi.
$35.00
Course of Empire
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Kyle Vanderburg
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Course of Empire
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NoteForge
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - SKU: A0.1448781 Composed by Kyle Vanderburg. 21st Century,Classical. 58 ...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - SKU: A0.1448781 Composed by Kyle Vanderburg. 21st Century,Classical. 58 pages. NoteForge #1028595. Published by NoteForge (A0.1448781). Course of Empire takes its title and theme from a series of paintings by Thomas Cole. Over the course of these five paintings, an imaginary city rises and falls. A large boulder atop a cliff watches the scenes unfold: a wild and untamed landscape in the first painting; an agrarian, peaceful, arcadian state in the second; a decadent celebration in the third; the sack and destruction of the city in the fourth; and the ruins in the last.I tried to work unifying musical motives throughout the quintet. The first movement, The State of Nature, begins with a twelve-tone texture. There is no sense of tonal hierarchy or pitch center. The music is in a state of balance, adhering to a natural system not discernable to the listener. The bassoon introduces the main motive representing the cliff, a pastoral sort of hiccup.The second movement, Daydreams of Arcadia, begins with and develops the cliff motive, and has a more defined tonality. There is more action throughout the movement, as we’re led to the peaceful beginnings of civilization. The Empire motive, a series of syncopated chords, shows up toward the end of the movement: This is the beginning of the end, where our imaginary city makes the change from existing in harmony with nature to conquering it.The third movement, Fulfillment of Empire, begins with a cliff motive that has been added to, almost to the point of unrecognizability. Scenes of empire are shown musically, from a grand parade, to a show of naval forces, to the temple that occupies most of the painting. The Empire theme returns, expanded upon, but somehow sounding a little overextended.The fourth movement, The Fall, alternates between unfriendly chords (and noises) and the Empire motive. Every iteration of the Empire motive gets a little weaker, as the foundations of the civilization are destroyed. The movement ends with a lone flute.Movement five, Redemption, features some scenes that are familiar, but are now in ruins. The movement slips slowly back into the twelve-tone texture from the beginning. The Empire motive, or something like it, makes a brief appearance and passes through the ensemble, starting in the upper voices and sinking into the lower.
$25.00
Tochter Zion - Choral & Shuffle - Wind Quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE
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Musique Sacrée
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G
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Thomas Graf
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Tochter Zion - Choral & Sh
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - SKU: A0.568775 Composed by G.F.Händel. Arranged by Thomas Graf. Chris...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - SKU: A0.568775 Composed by G.F.Händel. Arranged by Thomas Graf. Christmas,Classical,Jazz,Praise & Worship. 28 pages. Thomas Graf - the-hit-factory.com #3242835. Published by Thomas Graf - the-hit-factory.com (A0.568775). This concert piece starts with a classic choral auf Händel’s masterpiece, then comes the big surprise: A funky Back Beat with jazzy chords starts and will make your whole audience clap and dance. All parts are feature and even a solo for the bass part is included. It ends up in a cool finale. Drums are optional and may be substituted by a Cachon or even only clapping. A must for your upcoming concerts during holiday season! Instrumentation: Flute, Oboe, Clarinet in Bb, Horn in F, Bassoon, Drums (optional) 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 Video: https://www.youtu.be/Wv3_yF4qrQs 2017 Holiday Contest Entry.
$18.99
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