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PIANO & KEYBOARDS

Piano solo 39 2 Pianos, 4 hands 8 Piano, Vocal and Guitar 7 Easy Piano 5 Organ 4

Piano, Voice 3 C Instruments 2 Piano Quartet: piano, violin, viola, cello 1

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GUITARS

Melody line, (Lyrics) and Chords 6 Guitar 5 Lyrics and Chords 2 Guitar notes and tablatures 2 Bass guitar 1

VOICE

Choral SATB 19 Choral 2 Choral 2-part 2 Vocal duet, Piano 1 Choral TTBB 1

Choral Unison 1 Voice solo 1

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WOODWIND

Flute and Piano 11 Clarinet 9 Clarinet and Piano 8 Alto Saxophone and Piano 7 Soprano Saxophone and Piano 7 Saxophone Quartet: 4 saxophones 6 Baritone Saxophone, Piano 6 English horn, Piano 6 Tenor Saxophone and Piano 6 Oboe, Piano (duet) 5 Flute, Oboe, Clarinet, Bassoon 4 Flute 4 Bass Clarinet, Piano 4 Flute ensemble 3 Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 3

Clarinet Ensemble 2 Piccolo, Piano 1 Tenor Saxophone 1 Alto Saxophone 1 3 Clarinets (trio) 1 Flute Quartet: 4 flutes 1 2 Flutes (duet) 1

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WOODBRASS

Euphonium, Piano (duet) 7 English horn, Piano 6 Trombone and Piano 4 Brass Quintet: 2 trumpets, horn, trombone, tuba 4 Trumpet 4

French Horn and Piano 4 Trumpet, Piano 3 Brass Quartet 2 Trombone 1 Euphonium 1 French horn 1 Brass quartet : 2 trumpets, trombone, tuba 1

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STRINGS

Violin and Piano 7 Viola, Piano 6 String Quartet: 2 violins, viola, cello 5 Violin 4 Cello, Piano 4

2 Violins (duet) 3 Violin, Cello (duet) 1 4 Cellos 1 Cello 1

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PERCUSSION & ORCHESTRA

Orchestra 8 Concert band 5 String Orchestra 3 Brass ensemble 3 Jazz Ensemble 1

Chamber Orchestra 1

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Whole Again

Woodwind Quintet: flute, oboe, bassoon, clarinet, horn

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Kinder- Symphonie (Toy Symphony): attrib. J Haydn & L Mozart) - wind quintet and percussion Woodwind Quintet: flute, oboe, bassoon, clarinet, horn

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Do…(+)

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.553894 Composed by Joseph Haydn/Leopold Mozart. Arranged by Ray Thompson. Children,Christmas,Classical,Standards. 35 pages. RayThompsonMusic #6050327. Published by RayThompsonMusic (A0.553894). This work was long reputed to be the work of Joseph Haydn, but later scholarship suggested that it was actually written by Leopold Mozart. Its authorship is still disputed, however, and other composers have been proposed as the symphony's true author, including Joseph Haydn's younger brother Michael Haydn, who purportedly contributed movements to the work.Recent research on a newly found manuscript suggests the Austrian Benedictine monk Edmund Angerer (1740â€“1794) to be the author. If Angerer's manuscript (from 1765, entitled Berchtolds-Gaden Musick) is the original, the Toy Symphony was originally written not in G but rather in C. These findings, however, are disputed among scholars. There is reason to believe that the true composer will likely never be known, in whole or in part, given its confused origins and the paucity of related manuscript sources.Even without a name attached to it, the piece has become a mainstay for children's shows and Christmastime concerts. Each of its three movements features the sounds of actual toys and instruments that sound like they came straight from Geppetto's workshop. The piece calls for a toy trumpet, ratchet, nightingale, cuckoo, drum, and triangle. ( A quail makes itâ€™s only appearance in the 2nd movement.Noisemakers rattle throughout the first of its three movements. The cuckoo and trumpet Â call out mischievously during the minuetto of the second movement , and a quail joins the nightingale in the trio. In the short third mvt which is played 3 times, they all play again, each repeat faster than the previous one.The presence of the toy instruments make this a fun piece for children to play, especially when there are also some toys waiting under the tree.My arrangement is based on the Kinder-Symphonie attributed to Leopold Mozart. It is scored in C.It is in 3 mvts and is arranged for wind quintet, and toy percussion.It can be peformed as a stand alone Â wind quintet without percussionÂ as all of the important cues (the trumpet and cuckoo) are written in to the instrumnt parts.i have distributed the original strings around the woodwind, and composed an original classical horn part.Sometimes known as The Childrenâ€™s SymphonyAlso available as a wind dectet/bass arrangement.

$14.95 13.78 € #Woodwind Quintet: flute, oboe, bassoon, clarinet, horn #Joseph Haydn/Leopold Mozart #Kinder- Symphonie #RayThompsonMusic #SheetMusicPlus

Bach Fuga BWV 539 For Woodwind Quintet Woodwind Quintet: flute, oboe, bassoon, clarinet, horn

Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Comp…(+)

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 â€žArt of playing the silence and the Art of the â€žduration 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:-â€žplease 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 â€žGhost 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 â€žtakes 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 23.05 € #Woodwind Quintet: flute, oboe, bassoon, clarinet, horn #Johann Sebastian Bach #Bach Fuga BWV 539 For Woodwind Quintet #Luis Anjos Teixeira #SheetMusicPlus

Wind Quintet - One Rule Woodwind Quintet: flute, oboe, bassoon, clarinet, horn

Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Comp…(+)

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 didnâ€™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 â€˜back and forthâ€™ 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 â€˜turning pointâ€™ 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 32.27 € #Woodwind Quintet: flute, oboe, bassoon, clarinet, horn #Mike Lyons #Wind Quintet - One Rule #Lyons Music Services #SheetMusicPlus