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Toccata (Dorian) for 8-part Trombone Ensemble
Trombone ensemble
Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.792143 Composed by Joh…
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Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.792143 Composed by Johann Sebastian Bach. Arranged by Sauer, Ralph. Baroque. Score and parts. 32 pages. Gordon Cherry #3668021. Published by Gordon Cherry (A0.792143). A great transcription of Bach's Dorian Toccata BWV 538 for Trombone Octet by Ralph Sauer, Principal Trombonist of the Los Angeles Philharmonic. Mr. Sauer's scoring for this work shows his great skill as a Bach Brass Expert. Instrumentation is for 6 Tenors (parts 1-5 in tenor clef, 6th in bass) and 2 Bass trombones. Range goes to a high D for the 1st part in the final bars. Otherwise, range is moderate with no heavy endurance problems. This piece bounces along at a good clip and shows off technique & precise ensemble. A great choice for advanced performers.
$20.00
18.67 €
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Trombone ensemble
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Johann Sebastian Bach
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precise ensemble
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Toccata
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Gordon Cherry
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SheetMusicPlus
Fugue in C minor from The Well-Tempered Clavier, Book 1 for Trumpet Ensemble
Trumpet ensemble
Trumpet Ensemble Trumpet - Level 4 - Digital Download SKU: A0.817114 Composed by Jo…
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Trumpet Ensemble Trumpet - Level 4 - Digital Download SKU: A0.817114 Composed by Johann Sebastian Bach. Arranged by Charles Decker. Baroque,Chamber,Contest,Festival,Instructional. 20 pages. Charles Decker Music Press #3542579. Published by Charles Decker Music Press (A0.817114). Looking for a challenge other than another fanfare for your ambitious trumpet ensemble? Adding this fugue from Bach's monumental Well-Tempered Clavier to the group's repertoire will help develop precise rhythmic skills and attention to balance. The audio file is an actual trumpet ensemble performance and not a computer playback of the score.See 40+ homogeneous brass group editions for horn, trumpet and trombone ensembles and more than 70 mixed brass ensemble publications at Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. Check out our Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. All ensemble publications include recordings of the entire edition. Use this link to Kendor Music for more of my trumpet ensemble arrangements of music by J.S. Bach, Handel, and Renaissance composers Gervaise and Susato.
$7.95
7.42 €
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Trumpet ensemble
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Johann Sebastian Bach
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Fugue in C minor from The Well-Tempered Clavier, Book 1 for Trumpet Ensemble
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Charles Decker Music Press
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SheetMusicPlus
Canon in D for Trumpet Ensemble
Trumpet ensemble
Trumpet, 8 Bb Trumpets - Advanced - Digital Download Composed by Johann Pachelbel (16…
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Trumpet, 8 Bb Trumpets - Advanced - Digital Download Composed by Johann Pachelbel (1653-1706). Arranged by Charles Decker. Baroque Period, Repertoire, Technique Training, Recital. Score, Set of Parts. 32 pages. Published by Charles Decker Music Press
This unabridged arrangement of the familiar Pachelbel Canon is a showpiece for ambitious trumpet ensembles challenging performers and impressing audiences with its demands for precise rhythmic execution and careful attention to balance. Three pairs of trumpeters perform the original three violin parts and a fourth pair repeats the basso continuo. An alternate set of C trumpet parts is included for parts one to six as an option to the B-flat parts. The sound file is an actual trumpet ensemble performance and not a computer playback of the score.
$16.95
15.82 €
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Trumpet ensemble
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Johann Pachelbel (1653-1706)
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Canon in D for Trumpet Ensemble
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SheetMusicPlus
Love Is A Losing Game
Jazz Ensemble
Jazz Ensemble Jazz Ensemble - Level 2 - Digital Download SKU: A0.1118481 By Amy Win…
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Jazz Ensemble Jazz Ensemble - Level 2 - Digital Download SKU: A0.1118481 By Amy Winehouse. By Amy Winehouse. Arranged by Johan Verhey. Jazz,Pop,Singer/Songwriter. 70 pages. DaimlerMusic #720003. Published by DaimlerMusic (A0.1118481). Love Is A Losing Game is the story of a woman who is disillusioned with love. She has fallen head over heels for the man of her dreams. But what seemed like a beautiful promise turned out to be just an illusion. Outwardly self-confident and convinced of himself, but inwardly not up to the challenges of a relationship, he cowardly flees out of fear. Leaving her in loneliness and pain. This arrangement is for music fans and inspired Big Bands interested in telling an incredible story with authentic instrumentation. Johan Verhey is a professional musician and composer, as well as arranger. He knows how it feels to play a piece “in the pocket” with the intention of the original composer always in mind. His arrangements honour the Artist who wrote the original piece to express their soul. Each measure is created with precise attention to the intention of the lyrics. The instrumentation carries forward the story with dynamic harmonies. Johan Verhey understands the nuances of this piece and creates a dynamic and engaging arrangement. He also understands the power of the moment when the musician feels equally inspired and free to soar within the structure. The ability to play this arrangement does not require a specific skill level; only the heart , soul and intention is mandatory.More music from Johan Verhey, see: www.bestarrangementsforbands.com.
$60.00
56 €
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Jazz Ensemble
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Amy Winehouse
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Love Is A Losing Game
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DaimlerMusic
#
SheetMusicPlus
Tango... for three? for bassoon trio
3 Bassoons
Woodwind Ensemble,Woodwind Trio Bassoon - Level 2 - Digital Download SKU: A0.787454…
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Woodwind Ensemble,Woodwind Trio Bassoon - Level 2 - Digital Download SKU: A0.787454 Composed by Fran Griffin. Contemporary,Instructional,Jazz,Latin,Standards. 7 pages. Gryphon Music Australia #3053071. Published by Gryphon Music Australia (A0.787454). A bassoon tango! The parts are quite easy, with limited range and in an easy key. Parts 1 and 2 are of similar difficulty, part 3 is for a player who likes to go low on the instrument. With catchy rhythm and satisfying harmony, this tango is ideal for practicing precise ensemble playing and clear articulation.
$9.50
8.87 €
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3 Bassoons
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Fran Griffin
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Tango... for three? for bassoon trio
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Gryphon Music Australia
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
Flute ensemble
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gab…
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3460719. Published by jmsgu3 (A0.549201). Instrumentation: 2 piccolos, 3 concert flutes, 1 alto flute, 1 bass flute, 1 cello. Arranged in two antiphonal choirs. Full Score: 28 pg. Study Score: 14 pg. 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.
$47.95
44.75 €
#
Flute ensemble
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Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir
Clarinet Ensemble
Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by …
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Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 56 pages. Jmsgu3 #3461855. Published by jmsgu3 (A0.549204). Instrumentation: 2 Eb clarinets, 4 Bb clarinets, 2 bass clarinets. Arranged as a double quartet. Includes Full Score: 28 pg. Study Score: 14 pg. and instrumental parts: 2 pg. 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.
$47.95
44.75 €
#
Clarinet Ensemble
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Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
Flute ensemble
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gab…
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3464701. Published by jmsgu3 (A0.549210). A musical monument: the first composition to employ dynamics. Instrumentation: 1 piccolo, 5 concert flutes, 1 alto flute, 1 bass flute 1 cello. 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 €
#
Flute ensemble
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Gabrieli
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Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Clarinet Choir
Clarinet Ensemble
Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549213 Composed by …
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Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3464933. Published by jmsgu3 (A0.549213). A musical monument: the first composition to employ dynamics. Minimum Instrumentation: 8 Bb clarinets, 1 alto clarinet, 1 contralto clarinet, 1 contrabass clarinet. 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 €
#
Clarinet Ensemble
#
Gabrieli
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Gabrieli: Sonata Pian e Forte Ch. 175 for Clarinet Choir
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jmsgu3
#
SheetMusicPlus
Skyfall
Brass ensemble
Brass Ensemble - Level 4 - Digital Download SKU: A0.790973 By Adele. By Adele Adkin…
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Brass Ensemble - Level 4 - Digital Download SKU: A0.790973 By Adele. By Adele Adkins and Paul Epworth. Arranged by Kevin P Holdgate. Pop,R & B. Score and parts. 32 pages. Kevin P Holdgate #4350515. Published by Kevin P Holdgate (A0.790973). James Bond for Brass Band CollectionA few years ago I decided to base my summer programme around a central theme of the James Bond movies. Audiences loved the concept and the pieces because they knew the tunes and could sing along. We also had a wonderfully versatile vocalist. This arrangement is one of the ones I did for her.There is such a rich collection of theme songs available which people know and love. This particular arrangement is with a vocal Solo and is not simple. But is very playable by any competent brass band. There is nothing overly clever or difficult technically but rhythmically it needs to be precise. It will be enjoyable and playable by all levels of brass band. .
$24.99
23.32 €
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Brass ensemble
#
Adele
#
Skyfall
#
Kevin P Holdgate
#
SheetMusicPlus
The Chase - 2 flutes & 2 clarinets
Clarinet Ensemble
Woodwind Ensemble Clarinet - Digital Download SKU: A0.798346 Composed by Paul Hemme…
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Woodwind Ensemble Clarinet - Digital Download SKU: A0.798346 Composed by Paul Hemmer. Contemporary. 8 pages. PJMS MUSIC #6022085. Published by PJMS MUSIC (A0.798346). The Chase (based on Bach Invention #1) features 2 flutes & 2 clarinets. Each instrument has a primary role in the short composition which is designed to stimulate blending instruments and precise counting. Instrumentalist will discover it fun to perform.
$15.00
14 €
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Clarinet Ensemble
#
Paul Hemmer
#
2 clarinets
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The Chase - 2 flutes & 2 clarinets
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PJMS MUSIC
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SheetMusicPlus
Live And Let Die
Brass ensemble
Brass Ensemble - Level 4 - Digital Download SKU: A0.790966 By Wings. By Linda McCar…
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Brass Ensemble - Level 4 - Digital Download SKU: A0.790966 By Wings. By Linda McCartney and Paul McCartney. Arranged by Kevin P Holdgate. Film/TV. Score and parts. 25 pages. Kevin P Holdgate #4347261. Published by Kevin P Holdgate (A0.790966). James Bond for Brass Band CollectionA few years ago I decided to base my summer programme around a central theme of the James Bond movies. Audiences loved the conceptt and the pieces because they knew the tunes and could sing along.There is such a rich collection of theme songs available which people know and love. This particular arrangement is based on the Bob Curnow arrangement for Big Band and is not simple. But is very playable by any competent brass band. There is nothing overly clever or difficult technically but rhythmically it needs to be precise. It will be enjoyable and playable by all levels of brass band.
$24.99
23.32 €
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Brass ensemble
#
Wings
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Live And Let Die
#
Kevin P Holdgate
#
SheetMusicPlus
Americana: God's Bottles (Downloadable)
Choral SSAA
SSAA choir (a cappella) - Digital Download SKU: MQ.2549-E Composed by Randall Thomp…
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SSAA choir (a cappella) - Digital Download SKU: MQ.2549-E Composed by Randall Thompson. 9 pages. E. C. Schirmer Music Company - Digital #2549-E. Published by E. C. Schirmer Music Company - Digital (MQ.2549-E). A tour-de-force for SSAA chorus, unaccompanied. For today’s singers and audiences, the text is as tongue-in-cheek as they come. Yet it was written in a leaflet issued by the National Women’s Christian Temperance Union and was intended to be quite, quite serious! Apples and grapes are God’s bottles! “Some men take the juice of apples and grapes and make drinks that will harm our bodies!” But “We will drink from GOD’S BOTTLES.” A fun exercise in precise ensemble techniques with changing tempi, articulations, and dynamics.
$2.65
2.47 €
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Choral SSAA
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Randall Thompson
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Americana: God's Bottles
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Klarifications for Clarinet Choir
Clarinet Ensemble
Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 5 - Digital D…
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Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 5 - Digital Download SKU: A0.581881 Composed by John Gibson. Contemporary. 90 pages. JB Linear #3012617. Published by JB Linear (A0.581881). Klarifications for Clarinet Choir is a three movement piece for a large clarinet choir. It is set for Eb Soprano (one player), Bb clarinet 1-2-3, 2 alto clarinets, 2 bass clarinets, and Bb Contra. This would be best in a clarinet choir with at least two on a part in the Bb clarinet section. Here is what Margaret Thornhill wrote about this piece in The Clarinet magazine, June 2017: The dramatic first movement is a dialogue between an eefer (Eb clarinet) and the rest of the ensemble, incorporating paraphrases of excepts from Bach to Bizet. It is followed by a surprising second movement chorale with slap tongue, flutter tongue and finger popping intended to be individually miked. The final movement is an exciting montuno, including a section where each person can choose which riffs to play.The 1st movement, Canons Firing From an Ever Rising Staircase, Or, Heed the Effer's Frantic Calls To explain the title just a bit, the ever rising staircase is an aural trick that, if done precisely, sounds like the music keeps rising without really doing so. This was derived from what is called a Shepard's Tone. The canons firing are not cannons! The bass instruments play small sections of actual canons (like fancy rounds) written by J S Bach, Mozart, and others. Each time the solo Eb clarinet (the Effer) announces the coming canon firing in a frantic sort of way. The 2nd movement (Close Encounters with Basses) makes use of a number of unusual sounds on clarinet (or parts thereof) along with a few extended techniques that are fairly easy to play with the clear instructions provided. The altos, basses, and contra should be closely miked to be heard.The 3rd movement (Sometimes Free - A Montuno) starts off with a rich beat in the basses and gradually joined with the rest of the clarinets. In the montuno section there are 4 bar phrases each player can choose from to play during the 32 bars. They may choose what they will, either playing a different variation each time, using the same one each time, or choosing to not play for a particular 4 bar section. This is not a free improvisation, however! This is definitely for an advanced group of players. The 1st movement is also available separately. The sample recording uses Finale software in the 1st and 3rd movement, and John Gibson's recording of the 2nd movement.
$22.95
21.42 €
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Clarinet Ensemble
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John Gibson
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Klarifications for Clarinet Choir
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JB Linear
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SheetMusicPlus
5 Ringtones for Percussion Ensemble: Ringtone 3
Percussion Quintet Conga Drum,Snare Drum,Vibraphone,Xylophone - Level 4 - Digital Download…
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Percussion Quintet Conga Drum,Snare Drum,Vibraphone,Xylophone - Level 4 - Digital Download SKU: A0.1346735 Composed by Russell Woodford. 21st Century,Chamber,Instructional. 9 pages. Russell Woodford #931516. Published by Russell Woodford (A0.1346735). A set of challenging miniatures for 5-player percussion ensemble. Tempo is a guide only, and the ensemble should choose a tempo that allows them to play precisely and rhythmically - and have fun!
$4.99
4.66 €
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Russell Woodford
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5 Ringtones for Percussion Ensemble: Ringtone 3
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Russell Woodford
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SheetMusicPlus
5 Ringtones for Percussion Ensemble: Ringtone 2
Percussion Quintet Conga Drum,Snare Drum,Vibraphone,Xylophone - Level 4 - Digital Download…
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Percussion Quintet Conga Drum,Snare Drum,Vibraphone,Xylophone - Level 4 - Digital Download SKU: A0.1346621 Composed by Russell Woodford. 21st Century,Chamber,Instructional. 9 pages. Russell Woodford #931400. Published by Russell Woodford (A0.1346621). A set of challenging miniatures for 5-player percussion ensemble. Tempo is a guide only, and the ensemble should choose a tempo that allows them to play precisely and rhythmically - and have fun!
$4.99
4.66 €
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Russell Woodford
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5 Ringtones for Percussion Ensemble: Ringtone 2
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Russell Woodford
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SheetMusicPlus
5 Ringtones for Percussion Ensemble: Ringtone 4
Percussion Quintet Conga Drum,Snare Drum,Vibraphone,Xylophone - Level 4 - Digital Download…
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Percussion Quintet Conga Drum,Snare Drum,Vibraphone,Xylophone - Level 4 - Digital Download SKU: A0.1349104 Composed by Russell Woodford. 21st Century,Chamber,Instructional. 9 pages. Russell Woodford #933845. Published by Russell Woodford (A0.1349104). A set of challenging miniatures for 5-player percussion ensemble. Tempo is a guide only, and the ensemble should choose a tempo that allows them to play precisely and rhythmically - and have fun!
$4.99
4.66 €
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Russell Woodford
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5 Ringtones for Percussion Ensemble: Ringtone 4
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Russell Woodford
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SheetMusicPlus
5 Ringtones for Percussion Ensemble: Ringtone 5
Percussion Quintet Conga Drum,Snare Drum,Vibraphone,Xylophone - Level 4 - Digital Download…
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Percussion Quintet Conga Drum,Snare Drum,Vibraphone,Xylophone - Level 4 - Digital Download SKU: A0.1349107 Composed by Russell Woodford. 20th Century,21st Century,Chamber. 12 pages. Russell Woodford #933847. Published by Russell Woodford (A0.1349107). A set of challenging miniatures for 5-player percussion ensemble. Tempo is a guide only, and the ensemble should choose a tempo that allows them to play precisely and rhythmically - and have fun!
$4.99
4.66 €
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Russell Woodford
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5 Ringtones for Percussion Ensemble: Ringtone 5
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Russell Woodford
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SheetMusicPlus
Canons Firing From an Ever Rising Staircase for Clarinet Choir
Clarinet Ensemble
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 5 - Digital Download SKU: A0.58…
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 5 - Digital Download SKU: A0.581878 Composed by John Gibson. Contemporary. 66 pages. JB Linear #3007591. Published by JB Linear (A0.581878). Canons Firing From an Ever Rising Staircase, Or, Heed the Effer's Frantic Calls This is the 1st movement of a piece for clarinet choir written by John Gibson called Klarifications. The complete is also available. This movement is set for solo Eb clarinet; Bb clarinets 1,2, and 3; 2 Alto clarinets (with alternate Bb parts); 2 Bass clarinets; Bb Contrabass clarinet (with an alternate Eb Contra Alto part). To explain the title just a bit, the ever rising staircase is an aural trick that, if done precisely, sounds like the music keeps rising without really doing so. This was derived from what is called a Shepard's Tone. The canons firing are not cannons! The bass instruments play small sections of actual canons (like fancy rounds) written by J S Bach, Mozart, and others. Each time the solo Eb clarinet (the Effer) announces the coming canon firing in a frantic sort of way. Considering the Eb clarinet part, and the need for the Bb clarinets to carry the rising staircase, this is for an advanced group. It runs a little over 3 minutes in length. The recording is computer generated, although I plan to record a live version someday.
$14.50
13.53 €
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Clarinet Ensemble
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John Gibson
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Bb clarinets 1,2, and 3
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Canons Firing From an Ever Rising Staircase for Clarinet Choir
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JB Linear
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SheetMusicPlus
Intermediate Serial Studies for Trumpet
Trumpet
Trumpet - Level 4 - Digital Download SKU: A0.817142 Composed by Charles Decker. Con…
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Trumpet - Level 4 - Digital Download SKU: A0.817142 Composed by Charles Decker. Contemporary,Instructional. Educational Exercises. 25 pages. Charles Decker Music Press #4112429. Published by Charles Decker Music Press (A0.817142). Cited by the International Trumpet Guild Journal as a great introduction to the world of atonal music, Intermediate Serial Studies for Trumpet bridges the gap between tonal music and more difficult atonal literature with 20 short twelve-tone studies set primarily in the middle and lower registers. Settings vary from lyrical to marcato and tempos range from adagio to allegro. Using serial twelve-tone technique, each study's tone row is used only in original and retrograde (reversed) forms. Interval review in the studies begins with seconds and gradually expands to focus on thirds, fourths, tritones, fifths, sixths and sevenths. While 14 different time signatures are presented, beat subdivisions are not complex to facilitate precise rhythmic execution. Atonal music need not be barren of musical expression as applying creative interpretation with technical accuracy can make the music vibrant and exciting.See also with Charles Decker Music Press at Sheet Music Plus my Supplemental Practice Approaches for Trumpet and First Technical Studies for Trumpet that help develop trumpeters' skills and musicianship.If looking for trumpet solo features with brass quintet check out my SMP editions of Clarke’s Carnival of Venice, Puccini’s Che Gelida Manina from La Boheme, Verdi's Caro Nome from Rigoletto, Rossini's Non Piu Mesta from Cinderella, Sasche Concertino for Eb Cornet of 1871, and use this link to Kendor Music for my editions of Clarke’s Bride of the Waves and Nestico’s Portrait of a Trumpet. See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series” in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.
$9.95
9.29 €
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Trumpet
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Charles Decker
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Intermediate Serial Studies for Trumpet
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Charles Decker Music Press
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SheetMusicPlus
Handel's Hornpipe in D for String Trio
String Trio: violin, viola, cello
String Ensemble,String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.732…
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String Ensemble,String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.732612 Composed by George Frideric Handel. Arranged by Dave Prudon. Baroque,Easter,Sacred,Wedding. Score and parts. 14 pages. Prudon String Ensembles #4571417. Published by Prudon String Ensembles (A0.732612). Of all the arrangements of this baroque standard out there on the market, this one stands out as one of the most musically satisfying for the players and the audience. Great care was taken to be sure that the harmonic structure is precise without sacrificing any of Handel's rich lyricism. To give the Trio another performance option, a Violin 2 part is included in the set. To see a Trio arrangement of the other Hornpipe (the one in D), along with many other nice string ensemble arrangements, take a peek at: Prudon String Ensembles Sheet Music.
$9.99
9.32 €
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String Trio: violin, viola, cello
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George Frideric Handel
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Handel's Hornpipe in D for String Trio
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Prudon String Ensembles
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SheetMusicPlus
Cum enim quietum silentium contineret omnia, ...
Mixed choir (SATB/SATB/SATB/SATB) - advanced - Digital Download SKU: S9.Q46315 Comp…
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Mixed choir (SATB/SATB/SATB/SATB) - advanced - Digital Download SKU: S9.Q46315 Composed by Janusz Krzysztof Korczak. This edition: choral score. Distinguished Choral Music. Downloadable, Choral score. Duration 4 minutes. Schott Music - Digital #Q46315. Published by Schott Music - Digital (S9.Q46315). Latin.For his choral piece Cum enim quietum silentium contineret omnia, ..., the composer, choir director and organist Janusz Krzysztof Korczak, born in Cracow in 1994, was awarded the 3rd prize at the International Composition Competition 'Musica Sacra Nova' 2016. This demanding Latin choral work is written for four four-part a cappella ensembles (SATB/SATB/SATB/SATB), including a plan of the ensembles' precise positions provided by the Polish composer. In this church music work which is divided into several thematic sections for which Korczak has a maximum of four singers for each part in each ensemble in mind, he has tried, by his own account, to set to music 'a kind of programmatic visualization' of the words borrowed from the Liber Sapientiae 18, 14-15b. As a consequence, performance instructions like soft or sharp whispering, singing with open and closed mouth, parts to be recited 'ad libitum', a general rest with explicit indication of seconds, strong dynamic accents as well as an abruptly descending glissando at the end are among the striking features of this 16-part a cappella choral work. Ideal literature for singers who are eager to experiment.
$4.99
4.66 €
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Janusz Krzysztof Korczak
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Cum enim quietum silentium contineret omnia, ...
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Schott Music - Digital
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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 €
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Giovanni Gabrieli
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Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
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jmsgu3
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SheetMusicPlus
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, bari
Saxophone Quartet: 4 saxophones
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Ten…
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532734 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 21 pages. Musik Fabrik Music Publishing #1917. Published by Musik Fabrik Music Publishing (A0.532734). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
15.82 €
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Saxophone Quartet: 4 saxophones
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Johann Sebastian Bach
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Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, bari
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Musik Fabrik Music Publishing
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SheetMusicPlus
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, sopr
Saxophone Quartet: 4 saxophones
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Ten…
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532735 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 24 pages. Musik Fabrik Music Publishing #1921. Published by Musik Fabrik Music Publishing (A0.532735). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
15.82 €
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Saxophone Quartet: 4 saxophones
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Johann Sebastian Bach
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Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, sopr
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Musik Fabrik Music Publishing
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SheetMusicPlus
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