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Concert Aria for Double Bass
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Traditional Welsh Lullaby: Suo Gân, - double bass and piano by Jean-Thierry Boisseau
Instrumental Duet Double Bass,Instrumental Duet,Piano - Level 2 - Digital Download SKU:…
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Instrumental Duet Double Bass,Instrumental Duet,Piano - Level 2 - Digital Download SKU: A0.533221 Composed by Traditional Welsh Lullaby. Arranged by Jean-Thierry Boisseau. Concert,Folk,Standards,World. Score and parts. 13 pages. Musik Fabrik Music Publishing #2063765. Published by Musik Fabrik Music Publishing (A0.533221). This is an arrangement of the famous Welsh lullaby. This work for bass and piano is not at all a set of variations on a theme, because the bass always plays, without embellishment, the same sixteen-measure sequence four times. The four first measure of the this theme are played once as an introduction. The piano, however, is asked to create a different atmosphere each time the theme returns, replacing the meaning of the words. It is therefore the job of the player to find a different way of presenting the same theme, sequence by sequence, which is not entirely the easiest thing to do!
$8.95
8.35 €
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Traditional Welsh Lullaby
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Traditional Welsh Lullaby: Suo Gân, - double bass and piano by Jean-Thierry Boisseau
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Musik Fabrik Music Publishing
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SheetMusicPlus
Variations And Theme (for Flute Solo And Band) - String Bass
By Anne McGinty (1945-). Concert Band. For String Bass. Concert. Individual instrument par…
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By Anne McGinty (1945-). Concert Band. For String Bass. Concert. Individual instrument part. 1 pages. Duration 8:30. Published by Hal Leonard - Digital Sheet Music
$6.00
5.6 €
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Anne McGinty
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Variations And Theme
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199…
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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
44.75 €
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Giovanni Gabrieli
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Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.…
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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
44.75 €
#
Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giova…
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Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It 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, followed by a response from the group on the other. 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 rather than two groups. Because they could be appropriately situated, the instruments 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 and 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, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.75 €
#
Giovanni Gabrieli
#
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.…
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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.
$47.95
44.75 €
#
Gabrieli
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Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 72 pages. Jmsgu3 #823794. Published by jmsgu3 (A0.1227832). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was 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 particular 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 WorksGabrieli 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 indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments 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 WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to 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 an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments 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.
$47.95
44.75 €
#
Giovanni Gabrieli
#
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
#
jmsgu3
#
SheetMusicPlus
Gottes Zeit ist die allerbeste Zeit - For String Orquestra
Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.8894…
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Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.889436 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Contemporary,Easter,Standards. Score and parts. 11 pages. Luis Anjos Teixeira #4737807. Published by Luis Anjos Teixeira (A0.889436). The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works. It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world. Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of theDivi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708. The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe, edited by Wilhelm Rust. The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying. The Arrangement is relatively easy to perform, also appropriate for beginners. It is an ideal piece for advanced performers, this music touches deep into the Soul. The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement. Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form. Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo. I propose an interpretation for a modern string orquestra or a string quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul. If the orquestra only has one double bass I would recommend you to reenforce the bass with a cello. It can be very well performed by a „string quintet- a string quartet with a double bass. Have fun! It is a piece that can be used in many different kinds of situations, in a serious concert hall, or a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$10.99
10.26 €
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Johann Sebastian Bach
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edited by Wilhelm Rust.
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Gottes Zeit ist die allerbeste Zeit - For String Orquestra
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Luis Anjos Teixeira
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SheetMusicPlus
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Co…
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Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Renaissance,Traditional. Score and Parts. 44 pages. Jmsgu3 #823781. Published by jmsgu3 (A0.1227819). Minimum instrumentation: 4 cornets in Bb, 4 French Horms in F, 2 Trombones. See also arrangement à 12 which includes 2 Bass Trombones.InnovationsGabrieli 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 WorksGabrieli 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 MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation 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 WorksFinally, 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.HomophonyHence, 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
44.75 €
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Giovanni Gabrieli
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Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
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jmsgu3
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SheetMusicPlus
Donut Etudes vol. 3: Don’t Step in the Holes! – Bass Quartet
Small Ensemble Double Bass - Level 3 - Digital Download SKU: A0.784342 Composed by …
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Small Ensemble Double Bass - Level 3 - Digital Download SKU: A0.784342 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288689. Published by Slide Ride (A0.784342). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
4.67 €
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Joshua Hauser
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Donut Etudes vol. 3: Don’t Step in the Holes! – Bass Quartet
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Slide Ride
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Saxophone Choir
Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Do…
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Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 44 pages. Jmsgu3 #3462167. Published by jmsgu3 (A0.549207). Instrumentation: Double Sax Quartet (SSAATTBB) arranged antiphonally (SATB - SATB). Full Score: 28 pg. Study Score: 14 pg. Instrumental parts: 2 pg. ea. Duration: ca. 3:00 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
44.75 €
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Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Saxophone Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged …
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Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Published by jmsgu3 (A0.549209). Instrumentation: Two string quartets arranged antiphonally. Full Score: 28 pgs. Study Score: 14 pgs. Instrumental parts: 2 pg. ea. Duration: ca. 3:00. 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. www.jamesguthrie.com.
$47.95
44.75 €
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Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
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jmsgu3
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SheetMusicPlus
Arirang (For Violin, Cello and S.Orchestra)
String Ensemble Cello,Double Bass,Viola,Violin - Level 5 - Digital Download SKU: A0.120…
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String Ensemble Cello,Double Bass,Viola,Violin - Level 5 - Digital Download SKU: A0.1200264 By Han-Ki Kim. By Traditional. Arranged by Han-Ki Kim. Chamber,Classical,Instructional,Standards,Traditional. 26 pages. Han-Ki Kim #799067. Published by Han-Ki Kim (A0.1200264). Arirang for Violin, Cello and String Orchestra “Arirang” is a representative folk song of Korea and a famous song widely known around the world. This concerto was composed to give value as an artistic literature to such a familiar theme. In this concerto “Arirang”, I want both the performers and the audience to feel “musical sympathy”.Following the short and fast introduction in 3/4 time, it is connected in the form of 5 variations in 6/8 time. Each variation expresses a different musical atmosphere, performance speed, or change in composition. In general, the main melody is mainly played by the first violin, but as far as the main melody is concerned, in this music, high-pitched instruments and low-pitched instruments intersect and cycle in equal positions, not in a melodicline relationship. After the fourth variation, a virtuosic solo of the movement alone is connected, and after the finale with a broad and majestic atmosphere, it ends with a short and lively coda with the same character as the beginning. Attached file is played by S.Orchestra just for a reference.
$15.90
14.84 €
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Han-Ki Kim
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Arirang
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Han-Ki Kim
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SheetMusicPlus
CELLO TRIO VERSION: Variations on "Ah! vous dirai-je maman" / "Morgen kommt der Weihnachtsmann" / "T
String Ensemble,String Trio Cello,Double Bass - Level 2 - Digital Download SKU: A0.9999…
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String Ensemble,String Trio Cello,Double Bass - Level 2 - Digital Download SKU: A0.999993 Composed by Leonard Trommel. 20th Century,Christmas,Classical,Concert,Standards. Score and parts. 14 pages. AUXESIS PRESS #6139057. Published by AUXESIS PRESS (A0.999993). A fun little set of variations for cello trio and optional double bass.The second cello part from the trio may also be used as a standalone unaccompanied solo piece for cello. It is intended for cellists that can play in first position with extensions. The third cello part is likewise deliberately kept simple and can be played in first position. The first cello part is intended for somewhat more advanced cellists that can play up to the sixth (or fourth, if the second variation is played all'ottava bassa) position. A double bass may be added or used instead of the third cello part. The trio can be played as a chamber music piece with one player per part, and can also be played by a cello orchestra. The style of the piece could be characterised as classical in form, and tonal. This piece is also available in a version for viola solo, or 3 violas and a cello ad libitum.
$8.00
7.47 €
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Leonard Trommel
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CELLO TRIO VERSION: Variations on "Ah! vous dirai-je maman" / "Morgen kommt der Weihnachtsmann" / "T
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AUXESIS PRESS
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SheetMusicPlus
Mozart: Sinfonia Concertante (arr. nonet)
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Horn,Oboe,Viola,Violin - Level 5 - Digit…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Horn,Oboe,Viola,Violin - Level 5 - Digital Download SKU: A0.931072 Composed by Wolfgang Amadeus Mozart. Arranged by Roman Benedict. Classical. Score and parts. 164 pages. Roman Benedict #6759573. Published by Roman Benedict (A0.931072). Mozart wrote his Sinfonia Concertante for four winds and orchestra and it has been part of the classical repertoire for two centuries. Here it is delicately arranged for Nonet, oboe, clarinet, bassoon, horn, 2 violins, viola, cello and double bass. The work consists of three movements: Allegro; Adagio; and Andante con variazioni, (a theme with ten variations and a coda).Nonet arranged from The Sinfonia Concertante for Four Winds in E-flat major, K. 297b (Anh. C 14.01),.
$34.00
31.73 €
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Wolfgang Amadeus Mozart
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Adagio
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Mozart: Sinfonia Concertante
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Roman Benedict
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SheetMusicPlus
Second Aria
Instrumental Duet Double Bass,Instrumental Duet,Viola - Level 1 - Digital Download SKU:…
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Instrumental Duet Double Bass,Instrumental Duet,Viola - Level 1 - Digital Download SKU: A0.648465 Composed by Leopold Mozart. Arranged by Nick Lacanski. Classical,Concert,Instructional,Standards. Score and parts. 4 pages. Theupperstaff #3473469. Published by theupperstaff (A0.648465). This is a another great duet from the pen of papa Mozart. It is perfect for your developing students.
$1.99
1.86 €
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Leopold Mozart
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Second Aria
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theupperstaff
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SheetMusicPlus
Aria "Buß und Reu" (Matthäus-Passion). Transcription for chamber ensemble.
Small Ensemble Cello,Clarinet,Double Bass,Flute,Harpsichord,Violin - Level 3 - Digital Dow…
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Small Ensemble Cello,Clarinet,Double Bass,Flute,Harpsichord,Violin - Level 3 - Digital Download SKU: A0.939012 Composed by Johann Sebastian Bach. Arranged by Flavio Keller. Baroque,Christian,Concert,Easter. Score and parts. 16 pages. Flavio Keller #539485. Published by Flavio Keller (A0.939012). Transcription for chamber ensemble of the Aria for alto Buß und Reu (Matthäus-Passion). The alto part is played by the violin.
$3.00
2.8 €
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Johann Sebastian Bach
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Aria "Buß und Reu"
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Flavio Keller
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SheetMusicPlus
Ave Maria
Small Ensemble Clarinet,Double Bass,Piano Accompaniment - Level 2 - Digital Download SK…
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Small Ensemble Clarinet,Double Bass,Piano Accompaniment - Level 2 - Digital Download SKU: A0.979371 Composed by J.S. Bach, C. Gounod. Arranged by Sueudo Fernandes. Concert,Graduation,Romantic Period,Sacred,Wedding. Score and parts. 16 pages. Sueudo Fernandes #4627503. Published by Sueudo Fernandes (A0.979371). This is an arrangement of the Bach's and Gounod's well-know Ave Maria for Clarinet Solo, String Quartet (optional Contrabass) and Piano. Ideal for performing on marriage cerimonies and special occasions.
$11.99
11.19 €
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J
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Ave Maria
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Sueudo Fernandes
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SheetMusicPlus
Carol of the Bells (F min) (String Sextet - 3 Violin, 1 Viola, 1 Cello, 1 Bass)
String Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.813…
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String Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.813340 Composed by Mykola Leontovych. Arranged by Regis Bookshar. 20th Century,A Cappella,Christmas,Multicultural,Standards,World. Score and parts. 16 pages. Regis Bookshar #6198841. Published by Regis Bookshar (A0.813340). String Sextet - Intermediate - Digital Download. This selection, Carol of the Bells, also known as Ring, Christmas Bells, is suitable for high school and college students and is perfect for Christmas concerts and church services. Carol of the Bells was written by the Ukrainian composer Mykola Leontovych in 1914 with lyrics by Peter J. Wilhousky. The song is based on the Ukrainian folk chant Shchedryk, a New Year's song, known in English as The Little Swallow, and utilizes a four-note ostinato which brings to mind the ringing of bells. Originally intended to be sung a capella by a mixed four-part choir it has since been recorded into over 150 versions and re-arrangements for various vocal and instrumental compositions. One version, Ring, Christmas Bells, an English-language variant with Nativity-based lyrics, was written by Minna Louise Hohman in 1947. Regis Bookshar has now arranged the music for a String Sextet, consisting of 3 Violins, 1 Viola, 1 Violoncello and 1 Double Bass. Included are a score and a complete set of parts (16 pages). In addition to this version for a String Sextet, many other arrangements of this selection are also available for a variety of instrumental ensembles, including Quintets, Sextets, Septets and Octets, as well as numerous other selections in a wide variety of styles. I would encourage you to search for other arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that this exciting arrangement will entertain both performers and audiences alike for years to come.
$14.00
13.07 €
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Mykola Leontovych
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Carol of the Bells
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Regis Bookshar
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SheetMusicPlus
"Spring of Home Country" for Violin and Strings.
String Ensemble Cello,Double Bass,Viola,Violin - Level 4 - Digital Download SKU: A0.126…
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String Ensemble Cello,Double Bass,Viola,Violin - Level 4 - Digital Download SKU: A0.1262910 Composed by Nan-Pa Hong. Arranged by Han-Ki Kim. Chamber,Classical,Instructional,Romantic Period,Standards. 33 pages. Han-Ki Kim #855907. Published by Han-Ki Kim (A0.1262910). For Solo Violin and String Orchestra. Spring of Home Country Op.159 Violin Concerto “Spring in Home Country” can be said to be a variational concerto in a word. It is a concerto composed with the theme of the melody of Nan-pa Hong, who played an important role in spreading Western music in Korea. Children’s song “Spring in Hometown” was composed in 1929 and is a familiar melody to all Koreans, young and old. The content of the poem is about the beautiful and nostalgic nostalgia of the village where he lived as a child. Following the lively ensemble in 4/4 time, a solo violin that seems to read a poem plays the theme, followed by the first variation composed of a splendid broken chord. Variations 2 and 3 are played by soloists and ensembles, crossing the traditional Korean rhythms “Jajinmori” and “Kutkori”. In Variation 4, the slowly expanded theme is played by the ensemble with a consoldino (played using a muted instrument), and the solo violin adorns the theme of the ensemble with up and down notes. Then, the solo violin’s cadenza, the final variation of a majestic personality, and a short coda decorate the end.
$24.90
23.24 €
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Nan-Pa Hong
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"Spring of Home Country" for Violin and Strings.
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Han-Ki Kim
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SheetMusicPlus
DER EWIGE STENZ - BAVARIAN GIGOLO
Large Ensemble Alto Saxophone,Double Bass,Drum Set,Guitar,Soprano Saxophone,Tenor Saxophon…
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Large Ensemble Alto Saxophone,Double Bass,Drum Set,Guitar,Soprano Saxophone,Tenor Saxophone,Trombone,Trumpet,Tuba - Digital Download SKU: A0.889783 Composed by Fajora Music. Jazz,Pop,World. Score and parts. 37 pages. Fajora Music #2157997. Published by Fajora Music (A0.889783). Easy going music describing a casanova from Munich. Orginalversion from the CD Rainer Fabich z-minga II (Music for Munich). For brass & woodwind ensemble and band. Popular from tv- and radiobroadcasts and live concerts. Score and parts 37 pages. Instrumentation: soprano saxophone (Bb), trumpet (Bb), tenor saxophone (Bb), trombone / baritonehort, tuba, drum set , guitar (optional), double bass (optional), alto saxophone (alternative sopranosax), part, duration: ca. 3:10 min Music of the famous bavarian/german composer Rainer Fabich. More informations and audiofiles: www.rainer-fabich.de, www.fajora.com, itunes, amazon, spotify
$19.95
18.62 €
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Fajora Music
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woodwind ensemble and band
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DER EWIGE STENZ - BAVARIAN GIGOLO
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Fajora Music
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SheetMusicPlus
Concertino, Op. 26
Alto Saxophone,B-Flat Clarinet,B-Flat Trumpet,Double Bass,Euphonium,Flute,Horn,Tenor Saxop…
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Alto Saxophone,B-Flat Clarinet,B-Flat Trumpet,Double Bass,Euphonium,Flute,Horn,Tenor Saxophone,Tenor Trombone,Timpani,Tuba - Level 3 - Digital Download SKU: A0.1133820 Composed by Carl Maria von Weber. Arranged by John van Deursen. Classical,Historic,Instructional,Romantic Period. 97 pages. Francis Music #733934. Published by Francis Music (A0.1133820). The classic Concertino in Eb, arranged for small wind group with solo clarinet. Scored for 2 flutes, 1 clarinet, 2 alto saxes, 1 tenor sax, 2 trumpets, 1 trombone, 1 euphonium, double bass and timpani. Alternate parts for clarinets to cover all wind parts, alto sax for trumpet 2, tenor sax for horn, tuba for double bass, and more.
$35.00
32.67 €
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Carl Maria von Weber
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Concertino, Op. 26
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Francis Music
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SheetMusicPlus
Carol of the Bells (F min) (String Quintet - 3 Violin, 1 Cello, 1 Bass)
String Ensemble,String Quintet - Level 3 - Digital Download SKU: A0.813331 Composed…
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String Ensemble,String Quintet - Level 3 - Digital Download SKU: A0.813331 Composed by Mykola Leontovych. Arranged by Regis Bookshar. 20th Century,A Cappella,Christmas,Concert,Standards,World. Score and parts. 16 pages. Regis Bookshar #6197517. Published by Regis Bookshar (A0.813331). String Quintet - Intermediate - Digital Download. This selection, Carol of the Bells, also known as Ring, Christmas Bells, is suitable for high school and college students and is perfect for Christmas concerts and church services. Carol of the Bells was written by the Ukrainian composer Mykola Leontovych in 1914 with lyrics by Peter J. Wilhousky. The song is based on the Ukrainian folk chant Shchedryk, a New Year's song, known in English as The Little Swallow, and utilizes a four-note ostinato which brings to mind the ringing of bells. Originally intended to be sung a capella by a mixed four-part choir it has since been recorded into over 150 versions and re-arrangements for various vocal and instrumental compositions. One version, Ring, Christmas Bells, an English-language variant with Nativity-based lyrics, was written by Minna Louise Hohman in 1947. Regis Bookshar has now arranged the music for a String Quintet, consisting of 3 Violins, 1 Violoncello and 1 Double Bass. Included are a score and a complete set of parts (16 pages). In addition to this version for a String Quintet, many other arrangements of this selection are also available for a variety of instrumental ensembles, including Quintets, Sextets, Septets and Octets, as well as numerous other selections in a wide variety of styles. I would encourage you to search for other arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that this exciting arrangement will entertain both performers and audiences alike for years to come.
$12.00
11.2 €
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Mykola Leontovych
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Carol of the Bells
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Regis Bookshar
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SheetMusicPlus
Carol of the Bells (F min) (String Quintet - 4 Violoncello, 1 Bass)
String Ensemble,String Quintet - Level 3 - Digital Download SKU: A0.813336 Composed…
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String Ensemble,String Quintet - Level 3 - Digital Download SKU: A0.813336 Composed by Mykola Leontovych. Arranged by Regis Bookshar. 20th Century,A Cappella,Christmas,Concert,Standards,World. Score and parts. 16 pages. Regis Bookshar #6197539. Published by Regis Bookshar (A0.813336). String Quintet - Intermediate - Digital Download. This selection, Carol of the Bells, also known as Ring, Christmas Bells, is suitable for high school and college students and is perfect for Christmas concerts and church services. Carol of the Bells was written by the Ukrainian composer Mykola Leontovych in 1914 with lyrics by Peter J. Wilhousky. The song is based on the Ukrainian folk chant Shchedryk, a New Year's song, known in English as The Little Swallow, and utilizes a four-note ostinato which brings to mind the ringing of bells. Originally intended to be sung a capella by a mixed four-part choir it has since been recorded into over 150 versions and re-arrangements for various vocal and instrumental compositions. One version, Ring, Christmas Bells, an English-language variant with Nativity-based lyrics, was written by Minna Louise Hohman in 1947. Regis Bookshar has now arranged the music for a String Quintet, consisting of 4 Violoncellos and 1 Double Bass. Included are a score and a complete set of parts (16 pages). In addition to this version for a String Quintet, many other arrangements of this selection are also available for a variety of instrumental ensembles, including Quintets, Sextets, Septets and Octets, as well as numerous other selections in a wide variety of styles. I would encourage you to search for other arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that this exciting arrangement will entertain both performers and audiences alike for years to come.
$12.00
11.2 €
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Mykola Leontovych
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Carol of the Bells
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Regis Bookshar
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SheetMusicPlus
Carol of the Bells (F min) (String Septet - 3 Violin, 2 Viola, 1 Cello, 1 Bass)
String Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.814…
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String Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.814502 Composed by Mykola Leontovych. Arranged by Regis Bookshar. 20th Century,A Cappella,Christmas,Multicultural,Standards,World. Score and parts. 19 pages. Regis Bookshar #6197571. Published by Regis Bookshar (A0.814502). String Septet - Intermediate - Digital Download. This selection, Carol of the Bells, also known as Ring, Christmas Bells, is suitable for high school and college students and is perfect for Christmas concerts and church services. Carol of the Bells was written by the Ukrainian composer Mykola Leontovych in 1914 with lyrics by Peter J. Wilhousky. The song is based on the Ukrainian folk chant Shchedryk, a New Year's song, known in English as The Little Swallow, and utilizes a four-note ostinato which brings to mind the ringing of bells. Originally intended to be sung a capella by a mixed four-part choir it has since been recorded into over 150 versions and re-arrangements for various vocal and instrumental compositions. One version, Ring, Christmas Bells, an English-language variant with Nativity-based lyrics, was written by Minna Louise Hohman in 1947. Regis Bookshar has now arranged the music for a String Septet, consisting of 3 Violins, 2 Violas, 1 Violoncello and 1 Double Bass. Included are a score and a complete set of parts (19 pages). In addition to this version for a String Septet, many other arrangements of this selection are also available for a variety of instrumental ensembles, including Quintets, Sextets, Septets and Octets, as well as numerous other selections in a wide variety of styles. I would encourage you to search for other arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that this exciting arrangement will entertain both performers and audiences alike for years to come.
$16.00
14.93 €
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Mykola Leontovych
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Carol of the Bells
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Regis Bookshar
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