Fanfare Band - Grade 6 SKU: BT.DHP-1115084-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-020
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Set (Score & Parts). De
Haske Publications #DHP
1115084-020. Published by
De Haske Publications
(BT.DHP-1115084-020).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-120 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-120
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Score Only. Composed
2012. 99 pages. De Haske
Publications #DHP
1115084-120. Published by
De Haske Publications
(BT.DHP-1115084-120).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Leduc. CD
only. 12 pages. Alphonse
Leduc #AL30596. Published
by Alphonse Leduc
(HL.48186383).
UPC:
888680827571. 9x12.25
inches.
Orbitales
III (5') (9e) (collection
vent de sax) pour
saxophone alto et orgue.
Par Martin V. aux
éditions Leduc.
Partition / Livre de
chansons pour
Saxophone.
Variations on a dance from El Maestro by Luis de Milan. Composed by Enjot...(+)
Variations on a dance
from El Maestro by Luis
de Milan. Composed by
Enjott Schneider. This
edition: Saddle
stitching. Sheet music.
Woodwind. Contemporary,
Classical. Softcover.
Composed 2011. 21260. 24
pages. Duration 6' 37''.
Schott Music #ED21260.
Published by Schott Music
(HL.49019402).
Trumpet in C (soprano saxophone in Bb) and organ SKU: HL.49006679 Compose...(+)
Trumpet in C (soprano
saxophone in Bb) and
organ
SKU:
HL.49006679
Composed
by Bertold Hummel. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Composed 1978.
Op. 68. 44 pages.
Duration 22'. Schott
Music #ED 6814. Published
by Schott Music
(HL.49006679).
Choir SATB & Flexible
Quartet (with Percussion
& Organ). Composed by
Jacob De Haan. Music Box.
Score Only. Composed
2009. 56 pages. De Haske
Publications #DHP
1094823-170. Published by
De Haske Publications
(BT.DHP-1094823-170).
9x12
inches.
Part 1 Fl
Ob Kl B S-Sax Trp Trp C
Violin Part 2 Fl Cor Ang
Kl B Alt-Kl A-Sax Trp Hn
Trp C ViolinPart 3 Alt-Kl
T-Sax Fg Hn Pos Euph
Viola Part 4 B-Klar T-Sax
B-Sax Fg Pos Euph Tuba
Cello KbZus. Org Perc
Missa
Katharina is een mis
die bestaat uit de
gebruikelijke delen
Kyrie, Gloria, Credo,
Sanctus, Benedictus en
Agnus dei. Er zijn
instrumentale delen
toegevoegd: Preludium,
Offertorium, Postludium,
Alleluia en
Amen. Het
Preludium is
bedoeld voor de aanvang
van de mis, het
Offertorium komt
tussen de preek en de
communieviering en het
Postludium komt aan het
eind van de mis. Het
Alleluia wordt
gezongen na het
Gloria, het
Amen volgt het
Agnus dei. Voor
koor (SATB) en
vierstemmig variabel
ensemble (incl.
orgelpartij en optionele
slagwerkpartij). De
koorstemmen zijn separaat
verkrijgbaar (DHP
1074421-050).
MissaKatherina is
tevens leverbaar voor
koor en
harmonieorkest.Part 1
fluit hobo kl Bb kl Eb
trp Part 2 fluit kl Bb
alt-kl a-sax trp hrn Part
3 alt-kl t-sax fagot hrn
tromb euph Part 4 t-sax
fagot tromb euph Part 5
bas-kl b-sax fagot tromb
euph tuba con bas Opt.
drum
Missa
Katharina ist eine
originale Messe,
bestehend aus den
fünf
Ordinariumsteilen
Kyrie, Gloria, Credo,
Sanctus-Benedictus
und Agnus Dei,
für Chor (SATB) und
vierstimmig variables
Bläserensemble
(inklusive Orgel und
optionalem
Schlagzeug).Die
Chorstimmen (SATB) sind
separat erhältlich und
nicht in diesem Set
enthalten (Bestellnummer:
DHP 1074421-050).Part 1
Fl Ob Kl B S-Sax Trp Trp
C Violin Part 2 Fl Cor
Ang Kl B Alt-Kl A-Sax Trp
Hn Trp C ViolinPart 3
Alt-Kl T-Sax Fg Hn Pos
Euph Viola Part 4 B-Klar
T-Sax B-Sax Fg Pos Euph
Tuba Cello KbZus. Org
Perc
Missa
Katharina è una
messa originale composta
da sei movimenti
dell’Ordinario
della messa (Kyrie,
Gloria, Credo, Sanctus,
Benedictus e Agnus Dei),
per coro (SATB) e
strumentazione variabile
a quattro voci (incl.
organo e parti opzionali
delle percussioni). Le
parti per il coro sono
disponibili separatamente
(DHP 1074421-050).Voce 1
Flauto Obe Cl.Sib S-Sax
Tromba Tromba Do Violino
Voce 2 Flauto Cor. Ing
Cl.Sib Cl. Alt Sax A.
Tromba Corno Tromba Do
ViolinoVoce 3 Cl. Alt.
Sax T. Fagotto Corno Tbn
Euf. Viola Voce 4 Cl.
Bas. Sax T. Sax B.
Fagotto Tbn Euf. Tuba
Violonc. Cntbs.Opt. Org.
Perc.
(SATB). Composed by Alexander L'Estrange. Choir Sacred. For Organ, bras...(+)
(SATB). Composed by
Alexander
L'Estrange. Choir
Sacred. For Organ, brass
and
percussion (SATB choir).
Choral Octavo. Faber
Edition: Choral Signature
Series. Sacred. Published
by
Faber Music
Alto Saxophone & Organ duet SKU: SU.80101273 For Alto Saxophone & Orga...(+)
Alto Saxophone & Organ
duet
SKU:
SU.80101273
For
Alto Saxophone & Organ
duet. Composed by
Wieslaw V. Rentowski.
Woodwinds, Saxophone,
Keyboard, Organ.
Accompanied by organ.
Score & Parts. Zimbel
Press #80101273.
Published by Zimbel Press
(SU.80101273).
Ab ovo for alto
saxophone and two
organists (one organ) was
awarded the prize in the
Polish National
Composer’s
Competition in Warsaw,
Poland (1988). The work
is a one movement
composition written
originally for a three
manual organ. The musical
language of the piece
employs an alternation of
quasi-baroque motifs and
polyphony (organ part)
with more avant-garde
texture (cluster-like
chords). The saxophone
part is very free in its
dramatic and lyrical
expression, and is full
of different techniques
often influenced by
associations with jazz
(fast repetitions,
glissandi, and aleatoric
passages). The sales set
contains a bound score
for the organ and a
single-leaf score for the
saxophonist. 25 pages
Published by: Zimbel
Press.
Organ SKU: PE.EP73145 4. Christian Life and Conduct (Chorales 8...(+)
Organ
SKU:
PE.EP73145
4.
Christian Life and
Conduct (Chorales
87-113). Composed by
Edited by William
Whitehead. Organ (Solo).
Edition Peters. Book. 152
pages. Edition Peters
#98-EP73145. Published by
Edition Peters
(PE.EP73145).
ISBN
9790577014982. 303 x
232mm inches.
English.
The
Orgelbüchlein Project
is a collective
composition project
aiming to complete Bach's
unfinished manuscript
known as
'Orgelbüchlein'. In
the 'Little Organ Book',
Bach laid out a complete
hymnal of short organ
chorale preludes, 164 in
all, but only completed
46 of them. Why the
remaining 118 were left
as blank pages, with only
a title at the head,
remains a mystery, but
they inspried organists
William Whitehead to
found the
Orgelbüchlein Project,
in which contemporary
composers are invited to
contribute a piece to
completing the
collection.
The
resulting collection, to
be published in six
volumes, represents a
cross-section of the most
interesting composers at
work today across
Europe.
More
information about the
project is available at
www.orgelbuechlein.com
From Organ Symphony No. 5. Composed by Charles Marie Widor (1844-1937). Arra...(+)
From Organ Symphony No.
5.
Composed by Charles Marie
Widor (1844-1937).
Arranged
by Heinz-Peter Kortmann.
Sheet music. Score and
part.
Op.42/1. MDS (Music
Distribution Services)
#DOHR
16492. Published by MDS
(Music Distribution
Services)
Alto Saxophone & Organ SKU: AP.1-ADV7064 For Alto Saxophone and Organ<...(+)
Alto Saxophone & Organ
SKU: AP.1-ADV7064
For Alto Saxophone and
Organ. Arranged by
Friedemann Graef. Series;
Solo; Solo Small
Ensembles; Woodwind -
Alto Saxophone Solo.
Advance Music: Spirituals
for Saxophone. Sacred;
Spiritual; Traditional.
Score and Part(s).
Advance Music
#01-ADV7064. Published by
Advance Music
(AP.1-ADV7064).
UPC:
805095070644. English.
Traditional.
This
collection of pieces for
saxophone and organ or
piano, Spirituals for
Saxophone arranged by
Friedemann Graef, is
designed for use in
concert performances as
well as for church
services and other
ceremonies. This
traditional American
spiritual, Swing Low,
Sweet Chariot, has been
extended by composed
introductions and
endings, or interludes
and written solos. The
notated solos here are
the results of more than
ten years of the
arranger's personal
experience with these
tunes and chord changes.
The organ part may also
be played on acoustic
piano if the bass voice
is played one octave
lower in respective
passages---these passages
are marked. There is a
transposed part for
B-flat and E-flat
saxophones. Due to the
different register of the
tenor and alto saxophone,
a few notes of the alto
saxophone parts have been
changed for a more
effective sound.
Tenor Saxophone & Organ SKU: AP.1-ADV7069 For Tenor Saxophone and Orga...(+)
Tenor Saxophone & Organ
SKU: AP.1-ADV7069
For Tenor Saxophone
and Organ. Arranged
by Friedemann Graef.
Series; Solo; Solo Small
Ensembles; Woodwind -
Tenor Saxophone Solo.
Advance Music: Spirituals
for Saxophone. Sacred;
Spiritual; Traditional.
Score and Part(s).
Advance Music
#01-ADV7069. Published by
Advance Music
(AP.1-ADV7069).
UPC:
805095070699. English.
Traditional.
This
collection of pieces for
saxophone and organ or
piano, Spirituals for
Saxophone arranged by
Friedemann Graef, is
designed for use in
concert performances as
well as for church
services and other
ceremonies. This
traditional American
spiritual, Swing Low,
Sweet Chariot, has been
extended by composed
introductions and
endings, or interludes
and written solos. The
notated solos here are
the results of more than
ten years of the
arranger's personal
experience with these
tunes and chord changes.
The organ part may also
be played on acoustic
piano if the bass voice
is played one octave
lower in respective
passages---these passages
are marked. There is a
transposed part for
B-flat and E-flat
saxophones. Due to the
different register of the
tenor and alto saxophone,
a few notes of the alto
saxophone parts have been
changed for a more
effective sound.
By William Beckstrand. For SATB choir, soprano saxophone and organ, with optiona...(+)
By William Beckstrand.
For SATB choir, soprano
saxophone and organ, with
optional congregation.
Holy Week/Three Days,
Lent. Medium. Octavo. 12
pages. Published by
MorningStar Music
Publishers