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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Sheetmusic to print
6 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
Beethoven (as adapted Seiss): Contre-Tanze (Country Dance) No.2 - wind quintet
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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INTERMEDIATE
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Classical
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Ludwig van Beethoven
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Ray Thompson
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Beethoven
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RayThompsonMusic
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.553491 Composed by Ludwig van Beethoven. Arrange...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.553491 Composed by Ludwig van Beethoven. Arranged by Ray Thompson. Classical,Instructional,Wedding. 7 pages. RayThompsonMusic #2966917. Published by RayThompsonMusic (A0.553491). Contre-Tanze (Country Dance) No.2 (adapted Seiss)Beethoven wrote 12 Country Dances WoO14 for orchestra .They are all quite short: some have trios.They are probably better known as a set of 3 piano pieces called Contre-Tanzes which are noted frei bearbeitet von Isidor Wilhelm Seiss (freely adapted by Isidor Wilhelm Seiss) Isidor Seiss (23 December 1840 – 25 September 1905) was a German composer, conductor, pianist, piano pedagogue and philanthropist.They have a romantic feel to them.Each one of Seiss's 3 country dances are made up of extracts from 3 of Beethoven's. In some cases he uses only the trio, other times he uses the first 8 bars. Extracts are also transposed when needed to fit the home key of the piece. My arrangement is based on the musical layout of Seiss's Dance Number 2 which utilises extracts of Beethoven's as follows: The trio from No.5, the Trio from No 6 and part of No.12.Seiss freely adapts Beethoven's melodies and chordal structure. I have used Beethoven's original orchestration as a guide to give a more authentic classical sound.The horn part is for a natural horn in Eb.I have ignored the coda from Seiss's arrangement.Hope you enjoy them.
$4.95
Intermediate Music for Four, Christmas - Part 1 for Alto Saxophone 73115DD
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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INTERMEDIATE
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Christmas
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Various
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Daniel Kelley
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Intermediate Music for Four, C
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Last Resort Music Publishing
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.530272 Composed by Various. Arranged by Daniel Kelley. Baroque,Christmas,Classica...
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Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.530272 Composed by Various. Arranged by Daniel Kelley. Baroque,Christmas,Classical,Hanukkah,Romantic Period. 49 pages. Last Resort Music Publishing #3221201. Published by Last Resort Music Publishing (A0.530272). Part 1 for Eb Alto Saxophone - Fantastic and festive arrangements of Christmas and Hanukkah songs for quartet with flexible instrumentation. Each volume is arranged in progressive order of difficulty. This series is designed to progress to the level of the Music for Four series.Each part is sold separately.Perfect for String Quartet, Wind Quartet, Piano Quartet, Clarinet Quartet, & More! The keyboard/guitar part encompasses parts 2, 3 and 4. Therefore, the arrangements could be played as a piano quartet, or an entire quartet could play with a pianist - as long as Part 1 is being played.Table of ContentsA La Nanita Nana Angels From The Realm Of Glory The Boar's Head Carol Christmas Day in the Morning Christ Was Born On Christmas Day Coventry Carol The First Noel O Come, All Ye Faithful The Twelve Days of Christmas Up On The Housetop Christ-Child is Born O Christmas Tree Christmas Concerto from Concerto Grosso, Op. 6 #8 For Unto Us A Child Is Born Joy To The World Pastoral Symphony Pifa from The Messiah Fum, Fum, Fum The Song of the Birds Gesu Bambino Good King Wenceslas Hanukkah Medley - Hanukkah, S’Vivon, My Dreidel, Rock of Ages Hark! The Herald Angels Sing He Is Born, The Divine Christ Child I Heard the Bells on Christmas Day It’s Christmas Time Again Jingle Bells O Holy Night, Cantique de Noel O Little Town of Bethlehem Sleigh Ride from German Dance, K. 605 #3 Wexford Carol www.lastresortmusic.com
$18.50
Bach Fuga BWV 539 For Woodwind Quintet
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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ADVANCED
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Classical
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Johann Sebastian Bach
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Luis Anjos Teixeira
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Bach Fuga BWV 539 For Woodwind
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Luis Anjos Teixeira
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroqu...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the „Art of playing the silence and the Art of the „duration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-„please play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This „Ghost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice „takes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. Thank you very much f.
$25.00
Man! I Feel Like A Woman!
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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INTERMEDIATE
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Country
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Shania Twain
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Kayleigh Huelin
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Man! I Feel Like A Woman!
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Kayleigh Huelin
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1294204 By Shania Twain. By Robert John Mutt Lan...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1294204 By Shania Twain. By Robert John Mutt Lange and Shania Twain. Arranged by Kayleigh Huelin. Country,Pop. 17 pages. Kayleigh Huelin #884629. Published by Kayleigh Huelin (A0.1294204). From one of the biggest-selling albums of all time, Man! I Feel Like A Woman! by Shania Twain is a perfect slice of country-pop. This is a fun arrangement and is bound to put a smile on listeners' faces, and will be a great addition to any quintet's gigging repertoire. Arranged for wind quintet.Like this? Why not check out my website for more arrangements: www.khuelinmusic.co.uk.
$19.99
I Will Always Love You
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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INTERMEDIATE
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Dolly Parton
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Kayleigh Huelin
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I Will Always Love You
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Kayleigh Huelin
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1294160 By Dolly Parton. By Dolly Parton. Arrang...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1294160 By Dolly Parton. By Dolly Parton. Arranged by Kayleigh Huelin. Country,Hip-Hop,Pop,R & B. 9 pages. Kayleigh Huelin #884585. Published by Kayleigh Huelin (A0.1294160). A bona-fide classic from the nineties, Whitney Houston took this song by Dolly Parton and truly made it her own. Recorded for her film The Bodyguard, this was a smash hit on release and still today is one of the biggest-selling singles in the world. Arranged for wind quintet.Like this? Why not check out my website for more arrangements: www.khuelinmusic.co.uk.
$19.99
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