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Between The Lines
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Sheetmusic to print
5 sheet music found
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1
Wind Quintet - One Rule
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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ADVANCED
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Mike Lyons
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Wind Quintet - One Rule
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Lyons Music Services
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Serv...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. Published by Lyons Music Services (A0.767553). This brand-new piece for wind quintet came about through the coronavirus lockdown and my observations of our UK politicians and how they behaved (One rule for them...) In terms of the music, each line is related to other lines through patterns of 5, 7 or 9 beats (or half beats). Each repetition of the pattern starts with all the instruments in that particular group playing on the first beat. As the music progresses and develops, motifs appear out of the combinations of these beats with each other. Gradually, these patterns and motifs develop melodies which then form the backbone of the piece. The first section (I hesitate to use the term movement) labelled Plotting develops a character of wiliness. It represents, in its twisting strands, the plotting of politicians to aggrandise themselves. The bottom 3 parts form an 'undercurrent' to the music as the 5,7 and 9 beat counts overlap and process. The flute and oboe, meanwhile, generate the first melodic strand - which becomes important in the later movements. The opening quaver patterns are passed around the whole ensemble, keeping the rhythmic pulse going. It slips between the anchoring notes of the lower 3 parts, as well as being essential to the development of the flute and oboe melodic material and stopping the bassoon part being too boring! The long winding, rising and falling line on the oboe and flute is deliberately ambiguous in its tonality, leading one to feel it strives upwards, but then loses its way. The frequent dissonances as this line crosses itself in the other parts represents the effect of all the plotting on ordinary people. Before letter B, there are a couple of brief hints of Dies Irae, but I didn’t want that idea to dominate too much. After B and into C, we get the day-to-day chitchat in Westminster, with interjections from many voices proclaiming their message, trying to persuade their colleagues and just leading to confusion and tonal extremism. From letter C to the end of the section is an extended accel/stretto as the discussion gets more heated. Section 2 is titled Scheming. The tempo is faster than the previous section, but the pace is slower. More motives have formed and developed organically out of the rhythm and pitch patterns. The 5/7/9 cross rhythms are now at double speed, giving a fiercer drive to the music. The bassoon and horn, for now, adhere to the longer pulse of the first section, providing something of a harmonic underpinning. At bar 101, the long but now slightly broken narrative line of the first movement returns in modified form. This now provides a backdrop for the rhythmic bartering and ‘back and forth’ of the political day. The section reaches a climax as the political bickering becomes rowdier. Section 3 begins in a relatively happy mood. The bassoon has a jolly capering little motif, later taken up by other members of the ensemble. There are hints of English folk tune-ness in the resulting conversation, perhaps emphasised by the overlays of this pleasant melody from letter D. Letter E is a ‘turning point’ as all the rhythmic pulses finally align again. This is the first time all five parts have played on the same beat since the opening. At Letter G, a pulsing drone is added to the mix, using the quaver version of the pulse. Perhaps representing the soring of politicians. There is a parallel drone added at letter H, these drones use the 5 (bassoon) and 7 (horn) beat pulses. The result is a solid underpinning of the rhythmic and melodic ideas in the upper 3 parts. After letter I comes a reprise of the spritely bassoon motif with dissonant harmonies as the discussion becomes more heated. The little semiquaver figures have the rhythm Mr. Speaker as members of the house shout for attention. In the repeat bars, we hear the Speaker shout Order! Letter J provides an altered reprise of the begi.
$35.00
Divertissement for Wind Quintet (A showcase for members of the quintet)
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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ADVANCED
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Sy Brandon
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Divertissement for Wind Quinte
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Sy Brandon
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.1214466 Composed by Sy Brandon. 20th Century,Chamber,Contemporary. 78 pages. Sy B...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.1214466 Composed by Sy Brandon. 20th Century,Chamber,Contemporary. 78 pages. Sy Brandon #811453. Published by Sy Brandon (A0.1214466). Divertissement was composed during 2005 for the Cadence Music Ensemble and rewritten in 2010 for Bret Pimentel, a virtuoso performer on multiple woodwinds. This version was created in 2023 and is a showcase for members of the quintet. A divertissement is a multi-movement composition designed to divert, entertain or to amuse. There are six contrasting movements in this composition; Intrada (flute feature), Nocturne (Horn feature), Valse (bassoon feature), Marche (clarinet feature), Romanza (oboe feature), and Galop (spotlight on members of the ensemble). The Intrada is energetic and playful with a lot of interplay between instruments. The Nocturne, being a night piece, is both lyrical and mysterious. The Waltz is in a flowing waltz tempo with occasional shifts away from three beats in the measure. The Marche is not a piece that would be used in a parade. It is a march that exists in the mind of a child who is playing with toy soldiers; therefore there is playfulness and humor that would not occur in a functional march. Lyrical lines and expressiveness are the predominating features of the Romanza. The piece comes to a rousing close with the Galop, which is a “perpetual motion†type of movement with a lot of rhythmic variety.
$15.00
First Flight - Wind Quintet
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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INTERMEDIATE
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Brandon Hokeness
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First Flight - Wind Quintet
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Brandon Hokeness
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,English Horn,Flute,Oboe - Level 3 - Digital Download SKU: A0.1245953 By Brandon Hokeness. By Brandon ...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,English Horn,Flute,Oboe - Level 3 - Digital Download SKU: A0.1245953 By Brandon Hokeness. By Brandon Hokeness. 21st Century,Chamber,Classical,Contest,Festival,Instructional. 21 pages. Brandon Hokeness #840784. Published by Brandon Hokeness (A0.1245953). This piece explores the emotions of a person trying somethingnew. The first portion of the piece creates a melancholy texter, emulating thefeelings of doubt. As the piece progresses the feeling of doubt is lightened, andthen moves on to represent the excitement and racing thoughts felt when divinginto a new activity. Between the lifting melodies and excitable harmony lines, theangst is still felt but through a more positive lens.The subtitle “If Birds can Glide . . .†is from the Orville Wright Quote, used whenpeople doubted the human ability to fly. The thought of humans flying was thoughtby many to be impossible, but they were able to persevere with their ingenuity andsome creativity.
$19.99
I Had Much Grief
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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INTERMEDIATE/ADVANCED
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Classical
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Johann Sebastian Bach
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Luis Anjos Teixeira
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I Had Much Grief
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Luis Anjos Teixeira
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SheetMusicPlus
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.889444 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Tei...
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.889444 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. Score and parts. 12 pages. Luis Anjos Teixeira #5297057. Published by Luis Anjos Teixeira (A0.889444). I Had Much Grief, Cantata BWV 21. „Ich hatte viel Bekümmernis, BWV 21. „Sinfonia This work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. Bach catalogued the work as „e per ogni tempo „and for all times, indicating that due to its general theme, the cantata is suited for any occasion. With its distinctive gesture of descent and the plaintive lines of the oboe and violin, the Sinfonia, held in dark minor, sets a tone of pain that is characteristic of the cantata. With its emotional depth and formal wealth, the cantata I had much grief is almost a solitaire in Bach's church music. Performed in Weimar in 1714 and later rearranged several times, it is also suitable as a compositional business card due to its high standards and its shape, which is representative of various types of sentences, and could therefore be related to Bach's application. Bach performed the cantata on 17 June 1714, as his fourth work in a series of monthly cantatas for the Weimar court which came with his promotion to concert master. The Work was transposed to D minor during the Köthen years, and used in November 1720 for a performance in Hamburg to apply for the position as organist at St. Jacobi. As Thomaskantor in Leipzig, Bach performed the cantata again on his third Sunday in office on 13 June 1723. For this performance, he also changed the instrumentation, adding „for example four trombones to double the voices in the fifth stanza of the hymn. This version was used in several revivals during Bach's lifetime and is mostly performed today. From the plaintive sinfonia to the arias and duets touching in their pain and charm to the speaking rhythmic psalm and chorus choirs, a development arc spans that transforms suffering and grief into consolation and trust and culminates in an apotheosis reminiscent of Handel of the victorious lamb, Hardly ever has Bach put the process of a relentless self-questioning and spiritual healing as convincingly as here. This arrangement of the sinfonia is intended for modern instruments. The original score was translated into modern music literature standards thus simplifying the approach and helping to understand the legacy of baroque music in our modern times. A few embellishments and interpretation symbols where added thus mostly shortening the length of some notes. Some „fortes and „pianos are also included. The arrangement is absolutely faithful to Bach`s versions, not adding or omitting any notes from the original sources. P.S.- The score was written on Finale. The sound file was produced with samplers from Garritan, merely as an audio support for the presentation of the score. Thank you very much for taking your time to read this text and to listen to the file. I hope you enjoy the music. Musically Yours, „e per ogni tempo „and for all times Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzeneggerschen, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All The Love and Compassion. Luis Anjos Teixeira Timeless Life, Love Forever
$7.94
Anecdotes in E-flat, for Wind Quintet
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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INTERMEDIATE
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Christian W
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Anecdotes in E-flat, for Wind
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Christian W MacCartny
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1374810 Composed by Christian W. MacCartny. 21st...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1374810 Composed by Christian W. MacCartny. 21st Century,Contemporary. 27 pages. Christian W MacCartny #959343. Published by Christian W MacCartny (A0.1374810). Anecdotes in E-flat, for Wind Quintet is my first wind quintet composition. It consists of four movements:I. Lydian Dance is a silly dance-like tune, with three main melodic lines played at the same time.II. Waltz is a simple waltz.III. Joke is a fun, jaunty movement which tosses its melodies back and forth between the higher and lower winds.IV. Lullaby is a soft, gentle closer to the piece, with a simple 4-measure melody carried between the five players.
$1.99
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