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Vous avez sélectionné:
A Reed In The Wind
Partitions à imprimer
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.…
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462151. Published by jmsgu3 (A0.549205). Minimum instrumentation: 8 double reeds (or multiples) arranged in 2 antiphonal choirs. 4 oboes, 2 English horns, 1 bassoon, 1 contrabassoon (or 2 bassoons). 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 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 that 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 through 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.
$47.95
43.98 €
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
A Reed In The Wind
Guitare notes et tablatures
Guitar - Level 5 - Digital Download SKU: A0.1203744 Composed by Bradley Thomas. 20t…
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Guitar - Level 5 - Digital Download SKU: A0.1203744 Composed by Bradley Thomas. 20th Century,Contemporary. Guitar Tab. 3 pages. Bradley Thomas #802308. Published by Bradley Thomas (A0.1203744). A Reed In The Wind is an original composition for solo classical guitar. It is suitable for the advanced intermediate to advanced guitarist.
$4.99
4.58 €
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Guitare notes et tablatures
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Bradley Thomas
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A Reed In The Wind
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Bradley Thomas
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199…
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. 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. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95
43.98 €
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
The Windmills Of Your Mind
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1247144 Composed by Alan Bergman, Marilyn Bergman, and Michel Legrand. Arranged by Marsha Schweitzer. Chamber,Film/TV. 11 pages. Music For Winds #841700. Published by Music For Winds (A0.1247144). This arrangement is one of many created by Marsha Schweitzer, bassoonist of the Spring Wind Quintet. MUSIC for WINDS is Marsha's publishing company, specializing in music for wind instruments but also offering arrangements for brass quintet, string quartet, double reed ensemble, and mixed string-wind ensembles. For a complete catalog of MUSIC FOR WINDS publications, visit www.musicforwinds.net.
$15.00
13.76 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Alan Bergman, Marilyn Bergman, and Michel Legrand
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Marsha Schweitzer
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The Windmills Of Your Mind
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Music For Winds
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SheetMusicPlus
Wind Quintet Op 91 No 4 - Movement 1: Andante. Allegro Assai
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1261168 Composed by Anton Reicha. Arranged by Adrian Barnes. Chamber,Classical. 7 pages. Cammerayguy #854237. Published by Cammerayguy (A0.1261168). Anton (AntonÃn, Antoine) Joseph Reicha (Rejcha) (26 February 1770 – 28 May 1836) was a Czech-born, Bavarian-educated, later naturalized French composer and music theorist. A contemporary and lifelong friend of Beethoven, he is now best remembered for his substantial early contributions to the wind quintet literature and his role as teacher of pupils including Franz Liszt, Hector Berlioz and César Franck.Reicha's 25 wind quintets, composed in Paris between 1811 and 1820, were mostly premiered from 1817 in the foyer of the Théâtre Favart by some of the world's fifinest wind soloists. They were well received and were played al over Europe shortly afterward.Reicha claimed in his memoirs that his wind quintets filed a void:At that time, there was a dearth not only of good classic[al] music, but of any good music at al for wind instruments, simply because the composers knew little of their technique.[Wikipedia]Notes concerning this editionIn preparing this edition various manuscripts were consulted including the facimilies held by the IMSLP and Clarinet Institute. I also acknowledge the excel ent transcriptions prepared by Charles-David Lehrer for the International Double Reed Society.In addition, various editorial markings have been added to facilitate the performance of the quintet in a contemporary ensemble. Editorial additions marked in red in the score and may be considered optional. [Adrian Barnes]
$10.00
9.17 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Anton Reicha
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Adrian Barnes
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Wind Quintet Op 91 No 4 - Movement 1: Andante. Allegro Assai
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Cammerayguy
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.…
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3465004. Published by jmsgu3 (A0.549212). A musical monument: the first composition to employ dynamics. Instrumentation: 3 oboes, 3 English horns, 2 bassoons, 1 contrabassoon. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86.  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 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 that 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 through 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. Â
$47.95
43.98 €
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
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jmsgu3
#
SheetMusicPlus
Bach Little Fugue in G Minor for Wind Quintet BWV 578
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet - Level 4 - Digital Download SKU: A0.796898 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 4 - Digital Download SKU: A0.796898 Composed by Johann Sebastian Bach. Arranged by Stephanie Daige. Baroque,Concert. 26 pages. Stephanie Daige #6040559. Published by Stephanie Daige (A0.796898). This little fugue is one of Bach's most famous and beloved organ works. Reimagined for woodwind quintet, it is a challenging and fun setting for this fugue. The five instruments take turns entering with the subject of the fugue, and interplay back and forth with the other instruments. The timbres of the different instruments add a whole new dimension to this already fascinating work by J.S. Bach. I considered the need to breathe for each of this wind instruments, which obviously wasn't an issue in the original version intended for organ. This piece would be appropriate for advanced high school students, college students, or professionals. It would do well in a chamber music recital, a church, or an online virtual concert. It would also work as prelude or lobby music. Duration is just over three minutes (or longer if you prefer to take it slower). Each measure is numbered individually for convenience during rehearsals. I hope you will enjoy performing this piece as much as I have enjoyed arranging it! There are also versions of this piece available for brass quintet and double reed ensemble. Please check out my other arrangements at: https://www.sheetmusicplus.com/publishers/stephanie-daige/6875
$17.99
16.5 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Johann Sebastian Bach
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Stephanie Daige
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Bach Little Fugue in G Minor for Wind Quintet BWV 578
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Stephanie Daige
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SheetMusicPlus
European Anthem (Ode to Joy) for Brass Quintet & (opt. Snare drum)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Level 3 - Digital Download SKU: A0.746484 Composed by Ludvig van Beethoven. Arrange…
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Level 3 - Digital Download SKU: A0.746484 Composed by Ludvig van Beethoven. Arranged by Keith Terrett. Classical,Patriotic,Romantic Period,World. 11 pages. Keith Terrett #1955507. Published by Keith Terrett (A0.746484). The regional anthem of the EU arranged for Brass Quintet. The melody used to symbolize the EU comes from the Ninth Symphony composed in 1823 by Ludwig Van Beethoven, when he set music to the Ode to Joy, Friedrich von Schiller's lyrical verse from 1785. The anthem symbolises not only the European Union but also Europe in a wider sense. The poem Ode to Joy expresses Schiller's idealistic vision of the human race becoming brothers - a vision Beethoven shared. In 1972, the Council of Europe adopted Beethoven's Ode to Joy theme as its anthem. In 1985, it was adopted by EU leaders as the official anthem of the European Union. There are no words to the anthem; it consists of music only. In the universal language of music, this anthem expresses the European ideals of freedom, peace and solidarity. The European anthem is not intended to replace the national anthems of the EU countries but rather to celebrate the values they share. The anthem is played at official ceremonies involving the European Union and generally at all sorts of events with a European character. Ode to Joy (German original title: An die Freude) is the anthem of the European Union and the Council of Europe; both of which refer to it as the European Anthem due to the Council's intention that, as a semi-modern composition with a mythological flair, it does represent Europe as a whole, rather than any organisation. It is based on the final movement of Beethoven's 9th Symphony composed in 1823, and is played on official occasions by both organisations. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.
$8.99
8.25 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Ludvig van Beethoven
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Keith Terrett
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it consists of music only
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European Anthem
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Keith Terrett
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SheetMusicPlus
The Poet's Pen for Tenor, Oboe and Piano
Small Ensemble High Voice,Oboe,Piano Accompaniment - Level 5 - Digital Download SKU: A0…
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Small Ensemble High Voice,Oboe,Piano Accompaniment - Level 5 - Digital Download SKU: A0.981218 Composed by Judith Cloud. Contemporary,Standards. Score and parts. 17 pages. Judith Cloud #6689693. Published by Judith Cloud (A0.981218). Composer’s Notes In my parents' library there was an assortment of very old books that I used to leaf through while home for holidays. One of these, The Ladies' Wreath, was of special interest. The inscription inside the front cover read To Miss Sophia Venable by her friend William M. Duphuy, April 25, 1850. Within the collection of romantic short stories and poems was The Poet's Pen from the Greek didactic poet Menecrates. Here was something very different from the overly sentimental offerings in most of the volume. I imagined the solitary lady reading this would feel most exhilarated and even empowered. Ideas for setting the poem came almost immediately, with the oboe as a key figure. Having experimented with a choral setting, I settled on tenor, oboe and piano and in 1989 the piece was completed. I revised The Poet’s Pen in 2016. The Poet's Pen I was a useless reed; no cluster hungMy brow with purple grapes; no blossom flungThe coronet of crimson on my stem;No apple blushed upon me, nor (the gemof flowers) the violet strewed the yellow heathAround my feet; nor jessamine's sweet wreathRobed me in silver: day and night I pinedOn the lone moor, and shivered in the wind.At length a poet found me. From my sideHe smoothed the pale and withered leaves, and dyedMy lips in Helicon. From that high hour,I spoke! my words were flame and living power!All the wide wonders of the earth were mine;Far as the surges roll, or sunbeams's shine;Deep as earth's bosom hides the emerald;High as the hills with thunder-clouds are palled;And there was sweetness round me, that the dewHad never wet so sweet on violets blue.To me the mighty scepter was a wand;The roar of nations pealed at my command.To me the dungeon, sword, and scourge were vain,I smote the smiter, and I broke the chain;Or, towering o'er them all, without a plumeI pierced the purple air, the tempest's gloom,Till blazed th'Olympian glories on my eye,Stars, temples, thrones and gods--infinity. Menecrates of Ephesus (330-270 BC)
$15.00
13.76 €
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Judith Cloud
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The Poet's Pen for Tenor, Oboe and Piano
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Judith Cloud
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SheetMusicPlus
Beethoven: Wind Trio in C Major Op.87 Mvt.IV Finale - double reed trio (Ob.,C.A.,Bsn.)
Violon et Piano
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 4 - Digital Download SKU: A0.109865…
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 4 - Digital Download SKU: A0.1098656 Composed by Ludwig van Beethoven. Arranged by Ray Thompson. Classical. 19 pages. RayThompsonMusic #702522. Published by RayThompsonMusic (A0.1098656). Originally written for 2 oboes and cor anglais, I have added additional double reed parts: Parts are: 1. Oboe 1 2. Oboe2/Cor anglais 3.Cor Anglais/Bassoon Score shows oboe/C.A. and bassoon Mp3 is oboe/C.A. and bassoon. The Wind Trio for two Oboes and English Horn in C major, Op. 87 is a trio composition by Ludwig van Beethoven written in 1794, shortly after he arrived Vienna. Because amateur performers would gather in unusual permutations of players, this Trio was quickly arranged for many other combinations of instruments: versions exist for two violins and bass line, two flutes and viola, two clarinets and bassoon, as a sonata for violin and piano, and in various piano settings. . In 1806, Beethoven approved an arrangement (not by him) for two violins and viola, which was published that year. It was assigned the misleadingly-high opus number of 87, which would seem to place it near the Seventh Symphony; in fact, this music was written before Beethoven had published his Opus 1. This is the 4th Mvt. Finale (Presto).
$9.95
9.13 €
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Violon et Piano
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Ludwig van Beethoven
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Ray Thompson
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Beethoven: Wind Trio in C Major Op.87 Mvt.IV Finale - double reed trio
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RayThompsonMusic
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SheetMusicPlus
Gottes Zeit ist die allerbeste Zeit - For Woodwind Quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.889437 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.889437 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Contemporary,Easter,Standards. 11 pages. Luis Anjos Teixeira #4741949. Published by Luis Anjos Teixeira (A0.889437). The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works. It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world. Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of the Divi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708. The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe, edited by Wilhelm Rust. The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying. The Arrangement is relatively easy to perform, also appropriate for beginners. It is an ideal piece for advanced performers, this music touches deep into the Soul. The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement. Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form. Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo. I propose an interpretation for a modern woodwind quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul. Have fun! It is a piece that can be used in many different kinds of situations, from the serious concert hall to a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$9.94
9.12 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Johann Sebastian Bach
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Luis Anjos Teixeira
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edited by Wilhelm Rust.
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Gottes Zeit ist die allerbeste Zeit - For Woodwind Quintet
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Luis Anjos Teixeira
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SheetMusicPlus
Guthrie: The Double Reed Choir Christmas Book
Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 2 - Digital Download …
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Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.550711 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Instructional,Standards. 64 pages. Jmsgu3 #4785741. Published by jmsgu3 (A0.550711). The Double Reed Choir Christmas BookChristmas Reharmonizations by James M. Guthrie. The Double Reed Choir Christmas Book is a collection of the 18 Most Famous Christmas Songs of all time with new and surprising harmony.FormatFirst of all, your Double Reed Choir can perform the Double Reed Choir Christmas Book directly from the score. This is easy because each song is only two pages long, hence there are no page turns. Alternatively, this download includes a full set of parts. So various combinations are also possible: e.g. oboes read from the score on one stand, while the Bassoon and English Horn use the parts on separate stands. The Double Reed Choir Christmas Book is available in whatever format works best for your particular ensemble.PerformanceThis collection of the most famous 18 Christmas songs can be performed as a medley as written. Moreover, selected songs from the Double Reed Choir Christmas Book could be chosen as the last verse of a hymn presentation. In this case, just play the usual arrangement from the hymnal for the first verses, then switch to this arrangement for the final verse. This adds a great deal of energy and unexpected adventure to your performance. Each song could be repeated depending upon the length of time required. This is a very versatile collection. Suitable for Christmas parties or receptions, church services, and receptions, nightclubs, and school presentations. Also, they are very easy to perform or even sight-read.MusicEach song in the Double Reed Choir Christmas Book is adventurously reharmonized, but the melody always remains perfectly intact. This makes it easy for anyone to sing along. Moreover, the songs end properly in the correct key so as to add an element of familiarity and closure. Tempo markings occur at the beginning of each song, but you can adjust these to your liking. Articulations are carefully calculated to emphasize the characteristics of wind instruments.ContentsVeni, veni, Emmanuel (O Come, O Come, Emmanuel)Helmsley (Lo! He Comes with Clouds Descending)Antioch (Joy to the World)Carol (It Came Upon a Midnight Clear)Es ist ein Ros (Lo, How a Rose)GloriaGod Rest You MerryGreensleevesIn dulci jubilo (In Thee is Gladness)Mendelssohn (Hark the Herald Angels Sing)Personet hodieThe First NoelSalzburg (At the Lamb’s High Feast We Sing)Three Kings of OrientAdeste Fideles (O Come All Ye Faithful)St Louis (O Little Town of Bethlehem)Away in a MangerStille Nacht (Silent Night)Score: 36 pages, Total duration with no repeats: ca. 14:00
$34.95
32.06 €
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Traditional
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James M
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Guthrie: The Double Reed Choir Christmas Book
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jmsgu3
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SheetMusicPlus
The Dancing Forest
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.1023643 Composed by Ben Ledochows…
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Concert Band - Level 3 - Digital Download SKU: A0.1023643 Composed by Ben Ledochowski. Contemporary,New Age. Score and parts. 31 pages. Ben Ledochowski #6217581. Published by Ben Ledochowski (A0.1023643). Far to the westernmost regions of Russia, and then farther still, there is a place known as theDancing Forest of Kaliningrad. It is a mysterious, otherworldly place where trees grow in tangles,knots, and other unfathomable shapes, a place described by local psychics as a point of conflict where great positive and negative forces collide. Due to its remarkable air of mystery, the forest has woven its way into the legends and folklore of the region. My personal favorite legend about it goes as follows: The Prussian prince Barty used to hunt in these forests. Chasing a Roe deer one day, heheard a wonderful tune, and as he came to a field, he saw a beautiful girl playing a lyre. She was a Christian and her name was Predislava. The prince proposed to her but she replied that she would marry only a man of her faith. Prince Barty agreed to become a Christian as long as she could prove the power of her invisible God was more powerful than the surrounding trees. Predislava played her lyre. Birds grew silent, and the trees started dancing. The prince then took a bracelet from his hand and gave it to her as a token of their betrothal. On this very spot, many years later, there grew the Dancing Forest.This piece is my homage to the Dancing Forest of Kaliningrad and all its associated legends. Premiered by the Santa Teresa High School Concert Band in May 2019, the work is scored for a concert band of intermediate size and skill level and is designed to help introduce high school musicians to modal music and unconventional key signatures. Furthermore, the piece is inspired by multiple rhythmic and harmonic elements of rock and folk music in an attempt to help bridge the gap between popular music and contemporary wind ensemble repertoire. Enjoy!
$19.99
18.34 €
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Orchestre d'harmonie
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Ben Ledochowski
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The Dancing Forest
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Ben Ledochowski
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SheetMusicPlus
Saturnalia Song for voices, wind, brass and percussion
Chorale SATB
Choral Choir (Mixed) - Level 4 - Digital Download SKU: A0.576366 Composed by David …
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Choral Choir (Mixed) - Level 4 - Digital Download SKU: A0.576366 Composed by David Warin Solomons. 20th Century,Christmas,Classical,Contemporary,World. Octavo. 27 pages. David Warin Solomons #18013. Published by David Warin Solomons (A0.576366). A vivid and at times raucous celebration of Saturnalia, in Latin, for an ensemble of voices and instruments (including various percussion, woodwind and brass instruments). The sound sample is a sung performance by the composer with an electronic preview of the instruments. Further explanations: Song for Saturnalia - a raucous and fun romp - in whole tones (since there is scant evidence of the types of scales used in those days - whole tones just seem to work in this context). The Latin words make references to relatively modern times but the spirit of Saturnalia is timeless, after all. The pileum (also written pilleum) is the little cap that slave wore during Saturnalia to show they were free men and women on that day - they would point to their cap and say libertus sum (I am a free person) and omnes aequales sumus (we are all equal). The words (and translation - both by me) are as follows: Saturnalia Song Io Saturnalia! Hodie igitur dominus noster non es. [Hooray, it’s Saturnalia, so today you’re not our boss] Hodie omnes aequales sumus. Io! [Today we are all equal, hooray!] [spoof of USA Anthem] Salve O Frutici [Hi there, Bush] Ecce meum pileum: [Look, see my little cap of freedom] libertus sum [I’m a free man] [spoof of UK Anthem] Salve O Campestri [Hi there, Blair] Ecce meum pileum: [Look, see my little cap of freedom] libertus sum [I’m a free man] [spoof of German Anthem] Salve O Candelari [Hi there Brandt] Ecce meum pileum: [Look, see my little cap of freedom] libertus sum [I’m a free man] Io Saturnalia, Io! [Hooray, it’s Saturnalia, hooray!] [Note on the invented names (used in the vocative in the song of course): Fruticius is based on the word frutex a bush - it’s also used to mean blockhead in Roman comedies, but I can’t help that!. Campestrius is based on campester - a plain or place of clear ground (Blair is the Celtic equivalent word - a forest clearing!) Candelarius is based on candela - a taper or candle - ie something burning hence Brandt (yes, I know he’s earlier than the other two politicians, but, hey, it’s all a bit of anachronistic fun!)].
$10.00
9.17 €
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Chorale SATB
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David Warin Solomons
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Saturnalia Song for voices, wind, brass and percussion
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David Warin Solomons
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SheetMusicPlus
Blowin' In The Wind
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.78…
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.782306 By Stevie Wonder. By Bob Dylan. Arranged by Mac Huff and James Haynor. Rock. Score and parts. 21 pages. James Haynor #4790337. Published by James Haynor (A0.782306). Blowin' in the Wind is a song written by Bob Dylan in 1962 and released as a single and on his album The Freewheelin' Bob Dylan in 1963. Although it has been described as a protest song, it poses a series of rhetorical questions about peace, war, and freedom. Scored here for Woodwind Quintet. ( Duration 3:55 )
$12.99
11.92 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Stevie Wonder
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Mac Huff and James Haynor
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Quintet
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Blowin' In The Wind
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James Haynor
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SheetMusicPlus
Main Titles of America - Orchestral Composition (Finalist in National Young Composers Challenge)
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.955621 Composed by Caleb Liu. 2…
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Full Orchestra - Level 3 - Digital Download SKU: A0.955621 Composed by Caleb Liu. 20th Century,Contemporary,Film/TV,Romantic Period. Score and parts. 82 pages. Caleb Liu #6683167. Published by Caleb Liu (A0.955621). Main Titles of America was composed during shelter-in-place in July 2020. The piece was premiered in Winter of 2020 and was selected as a finalist in the 2021 National Young Composers Challenge. The composition was largely inspired by film music. In a film score, there is often a piece called Main Titles that plays during the opening scenes of the film. Typically, this piece encaptures all the major musical motifs present in the score of the movie. As the name suggests, Main Titles of America portrays the major themes of America in musical form. The three themes the piece highlights are opportunity, freedom, and love.The main musical motif appears early in the piece and is supported with eight notes and triplets from the harp and violas. The overall feel is adventurous and hopeful with energy building. The main motif is prominent throughout the piece, and almost every instrument plays the motif at some point. Each instrument represents a unique person who has the opportunity to flourish in America. The second motif represents freedom, and it is primarily played by the woodwinds. In particular, the flutes with their light, feathery sound help to express this idea. This motif is more playful and adds a touch of cheerfulness and lightness to the piece. It reflects the happiness of being free. The main motif and the second motif are intertwined just like opportunity and freedom. The third motif represents love and is prominent in the second half of the piece. The same eighth notes and triplets provide seamless energy and flow. While still maintaining a dream-like feel, this motif is meant to sound more grandiose and emotional. The sweeping themes and romantic harmonies are intended to portray the feeling of an ideal relationship. The piece ends with a triumphant brass chorale (the same motif from the beginning) followed by a tutti chord. It’s the musical representation of look how far we’ve come! The piece highlights the infamous American Dream - that anyone in America has the opportunity to pursue their dreams, find love, and create their own destiny.
$34.99
32.1 €
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Orchestre
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Caleb Liu
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Main Titles of America - Orchestral Composition
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Caleb Liu
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SheetMusicPlus
Three selections based on "Christ lag in Todesbanden" (Bassoon Quintet)
Woodwind Ensemble Bassoon,Double Reed Quintet - Level 4 - Digital Download SKU: A0.1245…
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Woodwind Ensemble Bassoon,Double Reed Quintet - Level 4 - Digital Download SKU: A0.1245673 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Chamber,Christian,Easter,Historic. 29 pages. Regis Bookshar #840529. Published by Regis Bookshar (A0.1245673). Three selections based on Christ lag in Todesbanden (Christ lay in death's bonds) (from Cantata No.  4, BMV  4) - Johann Sebastian Bach - Bassoon Quintet - Advanced/Intermediate - Digital Download.Cantata No.  4, BMV  4, Christ lag in Todesbanden (also spelled Todes Banden) (Christ lay in death's bonds) is a cantata for Easter written by Johann Sebastian Bach and is his earliest surviving Church Cantata. It was probably written in 1707 when he was 22 years old. It is a Chorale Cantata, a style in which both the text and music are based on a hymn. In this instance, the source was Martin Luther's hymn of the same name which became a main Easter hymn in German Lutheranism.Regis Bookshar has transcribed and arranged three selections based on this hymn tune, two from Bach's Cantata No.  4, BMV  4, and also his Chorale Prelude, BMV 625. They may be played individually or as a trilogy and each movement is more complex thatn the previous one. The first selection in this trilogy is the Chorale, Christ lag in Todesbanden, the final chorus from his Cantata No.  4, a straightforward four-part setting of the hymn (Regis has also added a fifth part). This is followed by Bach's Chorale Prelude, BMV 625, a piece from his Orgelbuchlein (Little Organ Book), a collection of 46 Preludes for organ, written almost exclusively during the 1708-1717 period, while Bach was court organist at Weimar. For the final selection, Regis has placed the polyphonic and imitative chorus. Es war ein wunderlicher Krieg, da Tod und Leben rungen (It was a strange battle, that death and life waged), which Bach had placed in the middle of his Cantata No.  4.This arrangement is for a Bassoon Quintet. Included are a score and a complete set of parts (29 pages).I hope you will enjoy playing these selections and please search for other arrangements by Regis Bookshar. There are numerous selections in a variety of styles, also available for purchase. I think you will be pleased with what you may find.
$30.00
27.52 €
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Johann Sebastian Bach
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Regis Bookshar
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Three selections based on "Christ lag in Todesbanden"
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Regis Bookshar
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SheetMusicPlus
Three selections based on "Christ lag in Todesbanden" (Oboe Quintet)
Woodwind Ensemble Double Reed Quintet,Oboe - Level 4 - Digital Download SKU: A0.1253791…
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Woodwind Ensemble Double Reed Quintet,Oboe - Level 4 - Digital Download SKU: A0.1253791 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Chamber,Christian,Easter,Historic. 29 pages. Regis Bookshar #847417. Published by Regis Bookshar (A0.1253791). Three selections based on Christ lag in Todesbanden (Christ lay in death's bonds) (from Cantata No.  4, BMV  4) - Johann Sebastian Bach - Oboe Quintet - Advanced/Intermediate - Digital Download.Cantata No.  4, BMV  4, Chris lag in Todesbanden (also spelled Todes Banden) (Christ lay in death's bonds) is a cantata for Easter written by Johann Sebastian Bach and is his earliest surviving Church Cantata. It was probably written in 1707 when he was 22 years old. It is a Chorale Cantata, a style in which both the text and music are based on a hymn. In this instance, the source was Martin Luther's hymn of the same name which became a main Easter hymn in German Lutheranism.Regis Bookshar has transcribed and arranged three selections based on this hymn, two from Bach's Cantata No.  4, BMV  4, and also his Chorale Prelude, BMV 625. They may be played individually or as a trilogy and each movement gets more complex than the previous one. The first selection in this trilogy is the Chorale, Christ lag in Todesbanden, the final chorus from his Cantata No.  4, a straightforward four-part chorale setting of the hymn (Regis has also added a fifth part). This is followed by Bach's Chorale Prelude, BMV 625, a piece from his Orgelbuchlein (Little Organ Book), a collection of 46 Preludes for organ, written almost exclusively during the 1708-1717 period, while Bach was court organist at Weimar. For the final selection, Regis has placed the polyphonic and imitative chorus, Es war ein wunderlicher Krieg, da Tod und Leben rungen') (It was a strange battle, that death and life waged), which Bach had placed in the middle of his Cantata No.  4.This arrangement is for an Oboe Quintet. Included are a score and a complete set of parts (29 pages).I hope you will enjoy playing these selections and please search for other arrangements by Regis Bookshar. There are numerous selections in a variety of styles, also available for purchase. I think you wil be pleased with what you may find.
$30.00
27.52 €
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Johann Sebastian Bach
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Regis Bookshar
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Three selections based on "Christ lag in Todesbanden"
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Regis Bookshar
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SheetMusicPlus
Bach Little Fugue in G Minor for Double Reed Choir BWV 578
Chorale SATB
Choral Choir (Mixed) - Level 5 - Digital Download SKU: A0.796870 Composed by Johann…
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Choral Choir (Mixed) - Level 5 - Digital Download SKU: A0.796870 Composed by Johann Sebastian Bach. Arranged by Stephanie Daige. Baroque,Concert. Octavo. 29 pages. Stephanie Daige #3377603. Published by Stephanie Daige (A0.796870). This little fugue is one of Bach's most famous and beloved organ works. Re-imagined for double reed choir, it is a challenging and fun setting for this fugue. The different instruments take turns entering with the subject of the fugue, and interplay back and forth with the other instruments. The timbres of the different instruments adds a whole new textural dimension to this already fascinating work by J.S. Bach. I considered the need to breathe for each of these wind instruments, which obviously wasn't an issue for the original version intended for organ. This piece would be appropriate for advanced high school students, college students, or professionals. It would do well in a chamber music concert, in a church, or between acts of a larger ensemble concert, perhaps in another location of the auditorium while a (quiet!) set change is taking place. It would also work well as prelude or lobby music. The duration is just over three minutes (or longer if you prefer to take it slower). Each measure is numbered individually for convenience during rehearsals. I hope you will enjoy performing this piece as much as I have enjoyed arranging it! There are also versions of this piece available for wind and brass quintets. Please check out my other arrangements at: http://www.sheetmusicplus.com/publishers/stephanie-daige/6875
$17.99
16.5 €
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Chorale SATB
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Johann Sebastian Bach
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Stephanie Daige
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Bach Little Fugue in G Minor for Double Reed Choir BWV 578
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Stephanie Daige
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SheetMusicPlus
Mozart: Viennese Sonatina No.4 (selection of Mvts from 5 Divertimenti K439b) - mixed wind trio
Woodwind Ensemble,Woodwind Trio Bass Clarinet,Bassoon,English Horn,Flute,Oboe - Level 3 - …
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Woodwind Ensemble,Woodwind Trio Bass Clarinet,Bassoon,English Horn,Flute,Oboe - Level 3 - Digital Download SKU: A0.1168625 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Classical. 19 pages. RayThompsonMusic #768963. Published by RayThompsonMusic (A0.1168625). Arranged woodind trio (playable as double reed trio, clarinet trio or mixed trio) Part 1 oboe (flute) / clarinet Part 2 clarinet / cor anglais Part 3 bassoon / bass clarinet The Six Viennese Sonatinas were not originally composed by Mozart for the piano. They are a contemporary arrangement of movements from the Five Wind Divertimentos for 3 basset horns, K. 439b which Mozart wrote in 1783.The Divertimentos are notable for their conciseness of form and their melodic richness. Each divertimento has 5 mvts.They therefore make an excellent introduction to Mozart's piano music, even though they are not completely typical of Mozart's piano writing. We do not know for certain who made the arrangement, but Alexander Weinmann has shown that it was probably Ferdinand Kauer. The order of movements is not the same as in the original; moreover, some of the Trios have been exchanged and recapitulations have been shortened in some instances.Thry are in varying keys, unlike the original divertimenti, so my arrangements reflect thus.This is my arrangement for  mixed wind trio of Sonatina No.4 in Bb major.There are 3 movements: Andante grazioso Menuetto and Trio Rondo
$19.95
18.3 €
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Wolfgang Amadeus Mozart
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Ray Thompson
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Mozart: Viennese Sonatina No.4
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RayThompsonMusic
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SheetMusicPlus
Frolic of Forest Quartet for Woodwinds
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 5 - Digital Downloa…
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 5 - Digital Download SKU: A0.1406769 Composed by Darian Thompkins. 20th Century,Chamber,Contest,Easter,Festival,New Age. 15 pages. Darian Thompkins #989523. Published by Darian Thompkins (A0.1406769). Frolic of Forest Quartet for Woodwinds is a piece for musicians who wish to be challenged. The piece is written in compound time with a transition to common time and showcases a change from D major to F major. A tour of the woods you will go with delights of colorful trees and various bouquets of flowers. Chords pulled and clustered to create a bliss and peaceful sound for the listener. Feelings of flying or running through an emerald forest. A trip deep into the woods to see its wonders. The flute has a beautiful solo that represents the beauty and freedom of the wind as it moves through the trees. The bassoon represents the forest trees and creatures as they move, animals that gallop across the floor of the forest. Like fairies they are enchanted and whimsical as they thrive. An ecosystem of life vibrant as far as the eye can see. Frolic of Forest Quartet for Woodwinds is for Advanced Woodwind players for flute, oboe, clarinet, and bassoon. Prepare yourself for a beautiful journey your ears will never forget, and you will always remember.
$3.99
3.66 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Darian Thompkins
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Frolic of Forest Quartet for Woodwinds
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Darian Thompkins
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SheetMusicPlus
Le Gibet (Gaspard de la Nuit) for Double Reed Choir + Flue, 2 Piccolos
Woodwind Ensemble Contrabassoon,English Horn,Flute,Oboe,Piccolo - Digital Download SKU:…
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Woodwind Ensemble Contrabassoon,English Horn,Flute,Oboe,Piccolo - Digital Download SKU: A0.830661 Composed by Maurice Ravel. Arranged by Richard Byrnes. Contemporary. 39 pages. Richard Byrnes #3412083. Published by Richard Byrnes (A0.830661). Le Gibet is the second movement from Maurice Ravel's Gaspard de la Nuit. This version adds 2 piccolo, a flute and a contrabassoon to a double reed choir (2Picc,Fl,3Ob,2EH,4Bn,Cbn). The gibet was a hook (gibbet), usually found near the entrance of a medieval town upon which some law offender would be suspended so as to warn visitors and the inhabitants not to offend. The ostinato throughout serves as a reoccurring focal point, much like the constant swing of the hook in the wind. It's dark, foreboding, and absolutely beautiful. This will challenge your ensemble to determining how loud pianissimo is.Please peruse the pages and listen to the recording of the score that is offered in determine whether this arrangement can work for your ensemble.In addition to Le Gibet by Ravel, we offer works by J.S. Bach, Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Richard Strauss, and Turina.
$29.99
27.51 €
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Maurice Ravel
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Richard Byrnes
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Le Gibet
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Richard Byrnes
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SheetMusicPlus
Blowin' In The Wind
Instrumental Solo,Kalimba - Level 2 - Digital Download SKU: A0.1360402 By Bob Dylan…
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Instrumental Solo,Kalimba - Level 2 - Digital Download SKU: A0.1360402 By Bob Dylan. By Bob Dylan. Arranged by songbooks.info. 20th Century,Country,Folk,Singer/Songwriter,Traditional. Individual part. 4 pages. Songbooks.info #944896. Published by songbooks.info (A0.1360402). Blowin' in the Wind is a folk song by Bob Dylan, released on the 1963 studio album The Freewheelin'. The song is one of Bob Dylon's best-known pieces; parts of the melody come from the traditional gospel No More Auction Block.The song became an anthem of the American civil rights and peace movements; Rolling Stone lists the piece at number 14 on the 500 best songs of all time.The song was adapted for the Kalimba with 17 tines and provided with reed numbers/symbols. These symbols are briefly explained in the appendix and can also be seen on most Kalimbas. The classic musical notation and/or the lyrics help to develop the song, so that even those unfamiliar with music notes can learn to play the song with this arrangement. The sound of a Vibraphone was used in the setting so that the sound does not mix with the sound of your own instrument. The melody is backed by a metronome and quietly by an organ. We hope you enjoy making music...!Blowin’ in the Wind ist ein Folksong von Bob Dylan, 1963 auf dem Studioalbum The Freewheelin’ veröffentlicht. Der Song gehört zu den bekanntesten Stücken von Bob Dylon, Teile der Melodie stammen aus dem traditionellen Gospel No More Auction Block.Der Song wurde zu einer Hymne der amerikanischen Bürgerrechts- und Friedensbewegung, der Rolling Stone listet das Stück auf Platz 14 der 500 besten Songs aller Zeiten.Das Lied wurde für die Kalimba mit 17 Stimmzungen adaptiert und mit Stimmzungenzahlen / Symbolen versehen Diese Symbole werden im Anhang kurz erklärt und sind auch auf den meisten Kalimbas ersichtlich. Die klassische Notenschrift und/oder der Liedtext helfen beim Erarbeiten des Liedes, sodaß auch Noten-Unkundige mit diesem Arrangement das Lied spielen lernen können. In der Vertonung wurde der Sound eines Vibraphones verwendet, so vermischt sich der Klang nicht mit dem Klang des eigenen Instrumentes. Hinterlegt ist die Melodie mit einem Metronom sowie leise mit einer Orgel. Wir wünschen viel Spaß beim Musizieren...!
$5.49
5.04 €
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Bob Dylan
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songbooks
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Blowin' In The Wind
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songbooks.info
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SheetMusicPlus
Machaut: La Messe de Nostre Dame for Double Reed Quartet
Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn - Level 2 - Digital Download SK…
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Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn - Level 2 - Digital Download 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
68.75 €
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Guillaume de Machaut, 1300-1377
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James M
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Machaut: La Messe de Nostre Dame for Double Reed Quartet
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jmsgu3
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SheetMusicPlus
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