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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Sheetmusic to print
9 sheet music found
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1
Bach Fuga BWV 539 For Woodwind Quintet
Bach Fuga BWV 539 For Woodwind Quintet
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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ADVANCED
#
Classical
#
Johann Sebastian Bach
#
Luis Anjos Teixeira
#
Bach Fuga BWV 539 For Woodwind
#
Luis Anjos Teixeira
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroqu...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the „Art of playing the silence and the Art of the „duration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-„please play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This „Ghost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice „takes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. Thank you very much f.
$25.00 ≈
23.02€
Debussy 1905 Clair de lune
Debussy 1905 Clair de lune
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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ADVANCED
#
Rainer's Rainbow
#
R G Roth
#
Debussy 1905 Clair de lune
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Rainer's Rainbow
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,English Horn,Flute,Oboe - Level 5 - Digital Download SKU: A0.1087284 By Rainer's Rainbow. By Claude D...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,English Horn,Flute,Oboe - Level 5 - Digital Download SKU: A0.1087284 By Rainer's Rainbow. By Claude Debussy 1862-1918. Arranged by R G Roth. 20th Century,Classical,Romantic Period,Traditional,Wedding. 34 pages. Rainer's Rainbow #691491. Published by Rainer's Rainbow (A0.1087284). In 1905 Debussy wrote his most famous melody Clair de lune. It has been arranged here for woodwind quintet. For the first time the arrangement follows the original piano score in Db from beginning to end. It is for standard woodwind quintet. The Horn in F is in range for English or French Horn. Alternate parts are included throughout.
$14.99 ≈
13.80€
Sweet Georgia Brown (for Woodwind Quintet)
Sweet Georgia Brown (for Woodwind Quintet)
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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ADVANCED
#
Jazz
#
Ben Bernie, Maceo & Pinkard
#
Kenneth Abeling
#
Sweet Georgia Brown
#
LINCOLN MUSIC PUBLICATIONS
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Oboe - Level 5 - Digital Download SKU: A0.515255 Composed by Ben Bernie, Maceo & Pinkard. Arran...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Oboe - Level 5 - Digital Download SKU: A0.515255 Composed by Ben Bernie, Maceo & Pinkard. Arranged by Kenneth Abeling. Jazz. 26 pages. LINCOLN MUSIC PUBLICATIONS #6211147. Published by LINCOLN MUSIC PUBLICATIONS (A0.515255). Sweet Georgia Brown, Lyrics by Kenneth Casey and Music by Ben Bernie & Maceo Pinkard arranged for Woodwind Quintet. This is a more advanced arrangement of the 1925 Jazz standard / Popular tune. The song is perhaps most recognized as the theme song of the basketball comedy team the Harlem Globetrotters. Playing time approximately 3:00. To view and listen to this piece in its entirety as well hundreds of other arrangement and transcriptions by Kenneth Abeling at the lowest prices available please visit: https://lincolnmusicpublications.com/
$15.99 ≈
14.72€
I’ve Found a New Baby (for Woodwind Quintet)
I’ve Found a New Baby (for Woodwind Quintet)
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
#
ADVANCED
#
Jazz
#
Spencer Williams & Jack Palmer
#
Kenneth Abeling
#
Playing Time 3:10
#
I’ve Found a New Baby
#
LINCOLN MUSIC PUBLICATIONS
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.515262 Composed by Spencer Williams & Jack Palme...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.515262 Composed by Spencer Williams & Jack Palmer. Arranged by Kenneth Abeling. Jazz,Standards. 25 pages. LINCOLN MUSIC PUBLICATIONS #6211473. Published by LINCOLN MUSIC PUBLICATIONS (A0.515262). I’ve Found a New Baby, Music by Spencer Williams and Lyrics by Jack Palmer for Woodwind Quintet and arranged by Kenneth Abeling. This is an advanced arrangement of one of the most popular Dixieland charts of all time and a must for your Dixieland library!! Playing Time 3:10. To view and listen to this piece in its entirety as well as hundreds of other arrangements and transcriptions by Kenneth Abeling at the lowest prices available please visit https://lincolnmusicpublications.com/
$14.99 ≈
13.80€
Harmony Music No.1
Harmony Music No.1
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
#
ADVANCED
#
E Elgar
#
Philip Le Bas
#
Harmony Music No.1
#
Philip Le Bas
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Oboe - Level 5 - Digital Download SKU: A0.1127840 Composed by E Elgar. Arranged by Philip Le Ba...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Oboe - Level 5 - Digital Download SKU: A0.1127840 Composed by E Elgar. Arranged by Philip Le Bas. 19th Century,Chamber,Classical. 26 pages. Philip Le Bas #728449. Published by Philip Le Bas (A0.1127840). An arrangement by Philip Le Bas of a very early wind quintet written by Edward Elgar while still based in Worcester in 1878-9, entitled Harmony Music No.1, after the German Harmoniemusik, meaning music for wind instruments. His quintet group (in which he played the bassoon) consisted of two flutes, an oboe, a clarinet and a bassoon, which by modern standards is rather unusual (omitting the usual French horn). He agreed to write a quintet for the group once a week, and he claimed to have written most of them during the 25-minute sermons at St. George's R.C. Church, where he had taken over the organ-playing from his father (and where the arranger ministered for three years in the 1990s!) It is a wonderful, cheerful, tuneful short piece (4-5 minutes long), but the original version is rarely performed, perhaps because of its difficulty on several fronts. First it is very fast, challenging performers' ability to tongue rapidly. Secondly, it repeatedly leaves no time to breathe, especially for the flautists (meaning that it has to be performed even faster, in order to get through it.) Thirdly, Elgar's oboist must have been extremely versatile, as its part is very low indeed in places (several low B's played pp at speed.) Finally, published copies seem to have rather a lot of editorial errors... This arrangement was therefore created in the hope that the piece might become more accessible and be more frequently performed. Although the bassoon part remains Elgar's, the other four players are used imaginatively to overcome many of the difficulties of the original. For example, the original low oboe parts are here played by one of the clarinets instead, and the severe breathing problems are solved by sharing repeated quavers between the four higher instruments.
$5.99 ≈
5.52€
Doctor Jazz (for Woodwind Quintet)
Doctor Jazz (for Woodwind Quintet)
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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ADVANCED
#
Contemporary
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Jazz
#
Joe “King†Oliver
#
Kenneth Abeling
#
Doctor Jazz
#
LINCOLN MUSIC PUBLICATIONS
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.1103216 Composed by Joe “King†Olive...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.1103216 Composed by Joe “King†Oliver. Arranged by Kenneth Abeling. 20th Century,Jazz,Standards. 27 pages. LINCOLN MUSIC PUBLICATIONS #706504. Published by LINCOLN MUSIC PUBLICATIONS (A0.1103216). Doctor Jazz by Joe “King†Oliver arranged for Woodwind Quintet. This is an advanced arrangement of one of the most popular Dixieland songs ever written! Playing Time: 3:25 To view and listen to this piece in its entirety as well as hundreds of other arrangements and transcriptions by Kenneth Abeling at the lowest prices available please visit: https://lincolnmusicpublications.com/.
$13.99 ≈
12.88€
I Want A Little Girl
I Want A Little Girl
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
#
ADVANCED
#
Billy Moll and Murray Mencher
#
Kenneth Abeling
#
I Want A Little Girl
#
LINCOLN MUSIC PUBLICATIONS
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.514668 Composed by Billy Moll and Murray Mencher...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.514668 Composed by Billy Moll and Murray Mencher. Arranged by Kenneth Abeling. Contemporary,Jazz,Standards. 18 pages. LINCOLN MUSIC PUBLICATIONS #3496807. Published by LINCOLN MUSIC PUBLICATIONS (A0.514668). “I Want a Little Girlâ€, Words and Music by Murray Mencher and Billy Moll for Woodwind Quintet, arr. Ken Abeling. This is an easier advanced to advanced Dixieland arrangement of an old Vaudeville favorite. To view and listen to this piece in its entirety as well as hundreds of other arrangements and transcriptions by Kenneth Abeling at the lowest prices available please visit www.lincolnmusicpublications.com. Playing Time: 3:10
$14.99 ≈
13.80€
Wind Quintet - One Rule
Wind Quintet - One Rule
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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ADVANCED
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Mike Lyons
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Wind Quintet - One Rule
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Lyons Music Services
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Serv...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. Published by Lyons Music Services (A0.767553). This brand-new piece for wind quintet came about through the coronavirus lockdown and my observations of our UK politicians and how they behaved (One rule for them...) In terms of the music, each line is related to other lines through patterns of 5, 7 or 9 beats (or half beats). Each repetition of the pattern starts with all the instruments in that particular group playing on the first beat. As the music progresses and develops, motifs appear out of the combinations of these beats with each other. Gradually, these patterns and motifs develop melodies which then form the backbone of the piece. The first section (I hesitate to use the term movement) labelled Plotting develops a character of wiliness. It represents, in its twisting strands, the plotting of politicians to aggrandise themselves. The bottom 3 parts form an 'undercurrent' to the music as the 5,7 and 9 beat counts overlap and process. The flute and oboe, meanwhile, generate the first melodic strand - which becomes important in the later movements. The opening quaver patterns are passed around the whole ensemble, keeping the rhythmic pulse going. It slips between the anchoring notes of the lower 3 parts, as well as being essential to the development of the flute and oboe melodic material and stopping the bassoon part being too boring! The long winding, rising and falling line on the oboe and flute is deliberately ambiguous in its tonality, leading one to feel it strives upwards, but then loses its way. The frequent dissonances as this line crosses itself in the other parts represents the effect of all the plotting on ordinary people. Before letter B, there are a couple of brief hints of Dies Irae, but I didn’t want that idea to dominate too much. After B and into C, we get the day-to-day chitchat in Westminster, with interjections from many voices proclaiming their message, trying to persuade their colleagues and just leading to confusion and tonal extremism. From letter C to the end of the section is an extended accel/stretto as the discussion gets more heated. Section 2 is titled Scheming. The tempo is faster than the previous section, but the pace is slower. More motives have formed and developed organically out of the rhythm and pitch patterns. The 5/7/9 cross rhythms are now at double speed, giving a fiercer drive to the music. The bassoon and horn, for now, adhere to the longer pulse of the first section, providing something of a harmonic underpinning. At bar 101, the long but now slightly broken narrative line of the first movement returns in modified form. This now provides a backdrop for the rhythmic bartering and ‘back and forth’ of the political day. The section reaches a climax as the political bickering becomes rowdier. Section 3 begins in a relatively happy mood. The bassoon has a jolly capering little motif, later taken up by other members of the ensemble. There are hints of English folk tune-ness in the resulting conversation, perhaps emphasised by the overlays of this pleasant melody from letter D. Letter E is a ‘turning point’ as all the rhythmic pulses finally align again. This is the first time all five parts have played on the same beat since the opening. At Letter G, a pulsing drone is added to the mix, using the quaver version of the pulse. Perhaps representing the soring of politicians. There is a parallel drone added at letter H, these drones use the 5 (bassoon) and 7 (horn) beat pulses. The result is a solid underpinning of the rhythmic and melodic ideas in the upper 3 parts. After letter I comes a reprise of the spritely bassoon motif with dissonant harmonies as the discussion becomes more heated. The little semiquaver figures have the rhythm Mr. Speaker as members of the house shout for attention. In the repeat bars, we hear the Speaker shout Order! Letter J provides an altered reprise of the begi.
$35.00 ≈
32.23€
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