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Take Two Oboes
Sheetmusic to print
13 sheet music found
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1
The Heavens Are Telling for Flute or Oboe or Violin & Flute or Oboe or Violin Duet - Music for Two
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Daniel Kelley
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Daniel Kelley
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The Heavens Are Telling for Fl
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Last Resort Music Publishing
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SheetMusicPlus
Instrumental Duet Instrumental Duet - Level 5 - Digital Download SKU: A0.669211 By Daniel Kelley. By Franz Joseph Haydn. Arranged by Daniel Kelley. Class...
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Instrumental Duet Instrumental Duet - Level 5 - Digital Download SKU: A0.669211 By Daniel Kelley. By Franz Joseph Haydn. Arranged by Daniel Kelley. Classical,Instructional,Sacred,Traditional,Wedding. Score and parts. 4 pages. Last Resort Music Publishing #278207. Published by Last Resort Music Publishing (A0.669211). Composed originally as a chorus for Haydn’s The Creation, the triumphant The Heavens are Telling was first performed in 1779. With text taken from Genesis as well as Milton’s Paradise Lost, this exuberant work is not merely a Classical standard, but a thrilling masterpiece. Playable by Two Violins, Two Flutes, Two Oboes, Violin & Flute, Violin & Oboe, Flute & Oboe, Violin Duet, Oboe Duet, Flute Duet Each duet book is published in score form (both parts on the same page) so that the players can play from the same part. Don't miss our other arrangements - available on SheetMusicPlus and www.lastresortmusic.com.
$5.95
On the Ice, for oboes, piano, drone - Score
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Paul Burnell
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On the Ice, for oboes, piano,
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Paul Burnell
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano - Level 2 - Digital Download SKU: A0.1491937 By Paul Burnell. By Paul Burnell. 21st Century,Classical,Con...
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Instrumental Duet,Piano Instrumental Duet,Piano - Level 2 - Digital Download SKU: A0.1491937 By Paul Burnell. By Paul Burnell. 21st Century,Classical,Contemporary. 6 pages. Paul Burnell #1068617. Published by Paul Burnell (A0.1491937). On the Ice by Paul Burnell1 oboe version composed 19932 oboe version composed 2002This score edition created 2024First performed 31 July 1997, Paul Burnell (oboe), Patsy Moore (piano), Bretton Hall,Wakefield.Duration 3.301 or 2 Oboes, or other suitable instrumentsPianoDrone instrument - organ, synthesiser etc.If performed with one oboe, play the Oboe 2 part.Note: When first performed the drone was provided by the female members of the rear half of the audience humming f above middle c.Dynamics may be devised by the performers ad lib.The quotation from ‘Frankenstein’ given in the programme note below may be incorporated into the performance.Programme note'Frankenstein', by Mary Shelley, begins with a series of letters from a Mister R Walton to his sister in London, written whilst on board a ship travelling north from Archangel in Russia. The fourth letter begins:“So strange an accident has happened to us, that I cannot forbear recording it...Last Monday, we were nearly surrounded by ice, which closed in the ship on all sides, scarcely leaving her the sea-room in which she floated. Our situation was somewhat dangerous, especially as we were compassed round by a very thick fog. We accordingly lay to, hoping that some change would take place in the atmosphere and weather.About two o'clock the mist cleared, and we beheld, stretched out in every direction, vast and irregular plains of ice, which seemed to have no end.”.
$4.99
Recordare (from "Requiem") (F) (Woodwind Choir - 2 Flutes, 2 Oboes, 2 Clar, 1 Hrn, 1 Bassoon)
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Classical
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Wolfgang Amadeus Mozart
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Regis Bookshar
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Recordare
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Regis Bookshar
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SheetMusicPlus
Woodwind Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1113143 Composed by Wolfgang Amadeus Mozart. Arranged by Regis Bo...
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Woodwind Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1113143 Composed by Wolfgang Amadeus Mozart. Arranged by Regis Bookshar. Chamber,Christian,Classical,Instructional,Religious. 45 pages. Regis Bookshar #715103. Published by Regis Bookshar (A0.1113143). Recordare (from Requiem (K. 626) - Wolfgang Amadeus Mozart/Franz Xaver Sussmayr - Woodwind Choir - Advanced/Intermediate - Digital Download. Hauntingly beautiful is how the Recordare from Mozart's Requiem is often described. Originally written for an orchestra and four vocal soloists, it has now been transcribed by Regis Bookshar for a Woodwind Choir, consisting of 2 Flutes, 2 Oboes, 2 Bb Clarinets, 1 French Horn and 1 Bassoon, and would be a wonderful addition to any music library. This arrangement will provide students with the opportunity to practice breath control because of its long, sustained phrases, and also to give them the chance to play this beautiful composition, something which they may not have had the opportunity to do, otherwise. This selection could be performed for concerts, recitals and church services and is suitable for high school and college students but professional musicians would also enjoy playing this arrangement. Included are a score and a complete set of parts (45 pages). The Regis Bookshar Trumpet Ensemble has performed the Trumpet Quintet version of the Recordare for funerals, providing beautiful, introspective music for the occasion. There is some controversy surrounding the circumstances of the Requiem's composition because Mozart died before he could complete it. Count Franz von Walsegg had commissioned a Requiem Mass but Mozart had received only half of the payment in advance. So, upon his death on December 5th, 1791, his widow, Constanze, wished to have the work completed secretly by someone else and submit it to the count as having been completed by Mozart to collect the final payment. Joseph von Eybler was one of the first composers to be asked to complete the score and had worked on a number of movements but felt unable to complete the remainder and gave the manuscript back to Constanze Mozart. The task was then given to another composer, Franz Xaver Sussmayr. Sussmayr borrowed some of Eybler's work in making his completion, added his own orchestration to other movements and added several new movements which a Requiem Mass would normally comprise. He then added a final section by adapting the opening two movements which Mozart had written to the different words which finish the Requiem Mass, which according to both Sussmayr and Mozart's wife, was done according to Mozart's directions. The completed score, initially by Mozart but largely finished by Sussmayr, was then dispatched to Count Walsegg complete with a counterfeited signature of Mozart dated 1792. Despite the controversy over how much of the music is actually Mozart's, the commonly performed Sussmayr version has become widely accepted by the public, and is considered one of Mozart's finest compositions. The Recordare is considered by many people to be one of the most beautiful compositions in Mozart's entire catalogue. Regis Bookshar, a trumpet player, has performed the Requiem in concert with a full orchestra, soloists and a chorus and felt that other musicians should have the opportunity to play the hauntingly beautiful Recordare as well. So, in addition to this arrangement for a Woodwind Choir, he has made quite a few other arrangements of this beautiful composition. There are Quintets, Sextets, Septets and Octets readily available for a wide variety of instrumental ensembles. Please take the time to look for other versions of this composition. You may fine something else which may also suit your needs. I would also encourage you to search for other arrangements by Regis Bookshar as well, as there are numerous arrangements in a variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are being added as often as possible. I'm certain that this beautiful arrangement of Mozart's Recordare, will continue to entertain both performers and audiences alike for years to come.
$40.00
Recordare (from "Requiem") (F) (Woodwind Octet - 2 Flutes, 2 Oboes, 2 Clar, 1 Hrn, 1 Bassoon)
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Classical
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Wolfgang Amadeus Mozart
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Regis Bookshar
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Recordare
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Regis Bookshar
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SheetMusicPlus
Woodwind Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1113146 Composed by Wolfgang Amadeus Mozart. Arranged by Regis Bo...
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Woodwind Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1113146 Composed by Wolfgang Amadeus Mozart. Arranged by Regis Bookshar. Chamber,Christian,Classical,Instructional,Religious. 45 pages. Regis Bookshar #715106. Published by Regis Bookshar (A0.1113146). Recordare (from Requiem (K. 626) - Wolfgang Amadeus Mozart/Franz Xaver Sussmayr - Woodwind Octet - Advanced/Intermediate - Digital Download. Hauntingly beautiful is how the Recordare from Mozart's Requiem is often described. Originally written for an orchestra and four vocal soloists, it has now been transcribed by Regis Bookshar for a Woodwind Octet, consisting of 2 Flutes, 2 Oboes, 2 Bb Clarinets, 1 French Horn and 1 Bassoon, and would be a wonderful addition to any music library. This arrangement will provide students with the opportunity to practice breath control because of its long, sustained phrases, and also to give them the chance to play this beautiful composition, something which they may not have had the opportunity to do, otherwise. This selection could be performed for concerts, recitals and church services and is suitable for high school and college students but professional musicians would also enjoy playing this arrangement. Included are a score and a complete set of parts (45 pages). The Regis Bookshar Trumpet Ensemble has performed the Trumpet Quintet version of the Recordare for funerals, providing beautiful, introspective music for the occasion. There is some controversy surrounding the circumstances of the Requiem's composition because Mozart died before he could complete it. Count Franz von Walsegg had commissioned a Requiem Mass but Mozart had received only half of the payment in advance. So, upon his death on December 5th, 1791, his widow, Constanze, wished to have the work completed secretly by someone else and submit it to the count as having been completed by Mozart to collect the final payment. Joseph von Eybler was one of the first composers to be asked to complete the score and had worked on a number of movements but felt unable to complete the remainder and gave the manuscript back to Constanze Mozart. The task was then given to another composer, Franz Xaver Sussmayr. Sussmayr borrowed some of Eybler's work in making his completion, added his own orchestration to other movements and added several new movements which a Requiem Mass would normally comprise. He then added a final section by adapting the opening two movements which Mozart had written to the different words which finish the Requiem Mass, which according to both Sussmayr and Mozart's wife, was done according to Mozart's directions. The completed score, initially by Mozart but largely finished by Sussmayr, was then dispatched to Count Walsegg complete with a counterfeited signature of Mozart dated 1792. Despite the controversy over how much of the music is actually Mozart's, the commonly performed Sussmayr version has become widely accepted by the public, and is considered one of Mozart's finest compositions. The Recordare is considered by many people to be one of the most beautiful compositions in Mozart's entire catalogue. Regis Bookshar, a trumpet player, has performed the Requiem in concert with a full orchestra, soloists and a chorus and felt that other musicians should have the opportunity to play the hauntingly beautiful Recordare as well. So, in addition to this arrangement for a Woodwind Octet, he has made quite a few other arrangements of this beautiful composition. There are Quintets, Sextets, Septets and Octets readily available for a wide variety of instrumental ensembles. Please take the time to look for other versions of this composition. You may fine something else which may also suit your needs. I would also encourage you to search for other arrangements by Regis Bookshar as well, as there are numerous arrangements in a variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are being added as often as possible. I'm certain that this beautiful arrangement of Mozart's Recordare, will continue to entertain both performers and audiences alike for years to come.
$40.00
Thea Musgrave: Take Two Oboes (Oboe Duet) - two oboes (duets, oboe duets)
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Thea Musgrave
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Virtualsheetmusic
Instantly printable sheet music by Thea Musgrave for two oboes (duets, oboe duets) of MEDIUM skill level. / classical
Instantly printable sheet music by Thea Musgrave for two oboes (duets, oboe duets) of MEDIUM skill level. / classical
$7.97
Canon in D (Pachelbel) (D) (Oboe Quintet)
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Classical
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Johann Pachelbel
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Regis Bookshar
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Canon in D
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Regis Bookshar
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SheetMusicPlus
Woodwind Ensemble Oboe - Level 4 - Digital Download SKU: A0.813469 Composed by Johann Pachelbel. Arranged by Regis Bookshar. Baroque,Multicultural,Standa...
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Woodwind Ensemble Oboe - Level 4 - Digital Download SKU: A0.813469 Composed by Johann Pachelbel. Arranged by Regis Bookshar. Baroque,Multicultural,Standards,Wedding,World. 27 pages. Regis Bookshar #6264853. Published by Regis Bookshar (A0.813469). Canon in D (Pachelbel) (D) (Oboe Quintet) - Advanced/Intermediate - Digital Download. This selection, Johann Pachelbel's celebrated Canon in D, is perhaps the most famous canon ever written and has been one of my favorite compositions to arrange. A canon is a polyphonic device in which several voices play the same music, entering in sequence. Pachelbel's Canon in D, was originally written in the key of D Major and was scored for three violins arranged in canon, accompanied by a basso continuo which repeats the same harmonic progression throughout the entire piece. The common musical term for this is ostinato or ground bass. Regis Bookshar has now arranged this music for an Oboe Quintet. Three Oboes play the melody in canon while the ostinato accompaniment is played by the other two Oboes. This arrangement is suitable for high school and college students but could also be performed by professional performers. It is perfect for concerts and church services, especially for Weddings, but could be performed for any occasion. Included are a score and a complete set of parts (27 pages). This version is written in the key of D Major, as is the original version, but, if you prefer, another version written in the key of Bb Major, to make it a little easier for some younger performers, is also available. Other versions of Pachelbel's Canon in D have also been arranged by Regis Bookshar and are available for a wide variety of instrumental Quintets and Octets, in both the keys of D Major and Bb Major. I think that String players would probably prefer to play the versions in the key of D Major while the Brass and Woodwind musicians might prefer to play the Bb Major versions. I hope you take the time to compare the different versions to find the right version for you. To help you decide which version, or versions, you may want to choose, I have included several musical samples for you to listen to and to hear what these arrangements may sound like and so that you may compare the various arrangements. Also, just to let you know, the Octets written in the key of Bb Major have full-length recordings while the Octets in D Major and all Quintets have only the first 25 measures, or so, available to hear. Please feel free to search for other arrangements by Regis Bookshar which are also available. There are quite a few other arrangements in a variety of styles and I'm certain you will find something else which might interest you as well. Please keep checking because I plan to continue to add new arrangements as often as I can. I'm certain that this exciting arrangement of Pachelbel's Canon in D will be a challenge to some performers but will continue to entertain both performers and audiences alike for years to come.
$20.00
Canon (Pachelbel) (Bb) (Oboe Quintet)
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Classical
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Johann Pachelbel
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Regis Bookshar
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Canon
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Regis Bookshar
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SheetMusicPlus
Woodwind Ensemble Oboe - Level 4 - Digital Download SKU: A0.813422 Composed by Johann Pachelbel. Arranged by Regis Bookshar. Baroque,Multicultural,Standa...
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Woodwind Ensemble Oboe - Level 4 - Digital Download SKU: A0.813422 Composed by Johann Pachelbel. Arranged by Regis Bookshar. Baroque,Multicultural,Standards,Wedding,World. 27 pages. Regis Bookshar #6259479. Published by Regis Bookshar (A0.813422). Canon (Pachelbel) (Bb) (Oboe Quintet) - Advanced/Intermediate - Digital Download. This selection, Johann Pachelbel's celebrated Canon, is perhaps the most famous canon ever written and has been one of my favorite compositions to arrange. A canon is a polyphonic device in which several voices play the same music, entering in sequence. Pachelbel's Canon, was originally written in the key of D Major and was scored for three violins arranged in canon, accompanied by a basso continuo which repeats the same harmonic progression throughout the entire piece. The common musical term for this is ostinato or ground bass. Regis Bookshar has now arranged this music for an Oboe Quintet. Three Oboes play the melody in canon while the ostinato accompaniment is played by the other two Oboes. This arrangement is suitable for high school and college students but could also be performed by professional performers. It is perfect for concerts and church services, especially for Weddings, but could be performed for any occasion. Included are a score and a complete set of parts (27 pages). This version is written in the key of Bb Major, to make it a little easier for some younger performers, but another version is also available in the key of D Major if you would prefer. Other versions of Pachelbel's Canon have also been arranged by Regis Bookshar and are available for a wide variety of instrumental Quintets and Octets, in both the keys of D Major and Bb Major. I think that String players would probably prefer to play the versions in the key of D Major while the Brass and Woodwind musicians might prefer to play the Bb Major versions. I hope you take the time to compare the different versions to find the right version for you. To help you decide which version, or versions, you may want to choose, I have included several musical samples for you to listen to and to hear what these arrangements may sound like and so that you may compare the various arrangements. Also, just to let you know, the Octets written in the key of Bb Major have full-length recordings while the Octets in D Major and all Quintets have only the first 25 measures, or so, available to hear. Please feel free to search for other arrangements by Regis Bookshar which are also available. There are quite a few other arrangements in a variety of styles and I'm certain you will find something else which might interest you as well. Please keep checking because I plan to continue to add new arrangements as often as I can. I'm certain that this exciting arrangement of Pachelbel's Canon will be a challenge to some performers but will continue to entertain both performers and audiences alike for years to come.
$20.00
Horn Concerto #2 Finale for Clarinet Quintet
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Classical
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Wolfgang Amadeus Mozart
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James Haynor
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Horn Concerto #2 Finale for Cl
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James Haynor
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SheetMusicPlus
Woodwind Ensemble Bass Clarinet - Level 4 - Digital Download SKU: A0.1180077 Composed by Wolfgang Amadeus Mozart. Arranged by James Haynor. Baroque,Class...
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Woodwind Ensemble Bass Clarinet - Level 4 - Digital Download SKU: A0.1180077 Composed by Wolfgang Amadeus Mozart. Arranged by James Haynor. Baroque,Classical. 27 pages. James Haynor #780018. Published by James Haynor (A0.1180077). Wolfgang Amadeus Mozart's Horn Concerto No. 2 in E-flat major, K. 417 was completed in 1783. The concerto is scored for solo horn and an orchestra of two oboes, two horns, and strings. This is one of two horn concerti of Mozart to omit bassoons.This arrangement is scored for Clarinet Quintet and makes a lively and exciting addition to any concert or recital. The first clarinet takes the lead of course but plenty to play for everyone.( Duration - 3:46 ).
$10.00
Homage to Mahler
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Simon Gilliver
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Homage to Mahler
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Simon Gilliver
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SheetMusicPlus
Woodwind Ensemble Clarinet,Flute,Oboe - Level 4 - Digital Download SKU: A0.1279567 Composed by Simon Gilliver. 20th Century,21st Century. 26 pages. Simon...
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Woodwind Ensemble Clarinet,Flute,Oboe - Level 4 - Digital Download SKU: A0.1279567 Composed by Simon Gilliver. 20th Century,21st Century. 26 pages. Simon Gilliver #871034. Published by Simon Gilliver (A0.1279567). This single movement work takes themes well known from Mahler Symphonies, combined with newly composed sections firmly in Mahler's style. The result is a colourful new symphonic movement in the style of Mahler for flute, oboe and clarinet ensemble. An ideal introduction to Mahler's style for developing woodwind players.Scored for three flutes, two oboes and three clarinets. Difficulty level grade 5-7.
$9.99
Brahms: Serenade No. 2 in A Op.16 Mvt. II Scherzo - symphonic wind dectet
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Classical
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Johannes Brahms
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Ray Thompson
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in C for movement II
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Brahms: Serenade No. 2 in A Op
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1488743 Composed by Johannes Brahms. Arranged by Ray Thompson. 19th Cen...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1488743 Composed by Johannes Brahms. Arranged by Ray Thompson. 19th Century,Romantic Period. 20 pages. RayThompsonMusic #1065594. Published by RayThompsonMusic (A0.1488743). The two Serenades, Op. 11 and 16, represent early efforts by Johannes Brahms to write orchestral music. They both date from after the 1856 death of Robert Schumann when Brahms was residing in Detmold and had access to an orchestra.Brahms had a goal of reaching Ludwig van Beethoven's level in writing symphonies, and worked long and hard on his first symphony, completing it only in 1876 when he was 43 years old. As preliminary steps in composing for orchestra, he chose early on to write some lighter orchestral pieces, these Serenades.The second serenade was first sent to Clara Schumann, who was delighted by it. It was written in 1859 and dedicated to her.The first public performance, reportedly for full orchestra (version lost?), was in Hamburg on 10 February 1860.Brahms himself reworked the piece for piano 4 hands in 1875.The same year he revisited the orchestral version, this time for a small chamber orchestra.The new scoring was for :piccolo,2 flutes,2 oboes,2 clarinets (in A for movements I, IV, V; in C for movement II; and in B flat for movement III),2 bassoons, 2 horns, violas, cellos, and double basses.(omitting violins, brass, and percussion)The five movements take approximately thirty minutes to perform.Allegro moderato (A major)Scherzo. Vivace (C major) – Trio (F major) (This arrangement)Adagio non troppo (A minor, ends in A major with a Picardy third)Quasi menuetto (D major) – Trio (F♯ minor)Rondo. Allegro (A major)Arranged wind dectet/decet/double wind quintet and bass.Horns in C basso ( as in original) but alternative Horn in F parts provided.My clarinet parts are for Bb clarinets.
$14.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. ...
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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
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCA...
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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
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. ...
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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
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