Composed by Italian Traditional. Arranged by Francesco Leone. Folk,Patriotic,Standards. 31 pages. Glissato Edizioni Musicali #6616113. Published by Glissato Edizioni Musicali

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 3 - Digital Download

SKU: A0.1515580

Composed by Traditional. Arranged by James-Michael Sellers. Christmas,Holiday. 12 pages. JMS Composer #1089935. Published by JMS Composer (A0.1515580).

Bring a dose of comedy to your holiday festivities with this hilarious arrangement of Up on the Housetop. Transformed into a merry musical escapade, this rendition features playful rhythms and unexpected twists that mimic the carefree charm of a tipsy tune. Perfect for getting everyone in the festive spirit, it's guaranteed to generate giggles and set a joyful tone at any gathering. Whether for a concert or a holiday party, this whimsical version will have audiences laughing along with its delightful antics.

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - Digital Download

SKU: A0.1112597

Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Religious,Sacred. 14 pages. Artistic Score Engraving di Galvagno Michele #714606. Published by Artistic Score Engraving di Galvagno Michele (A0.1112597).

Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825—1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823—1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.

Alto Sax, Tenor Sax, Baritone Sax, Soprano Sax - Advanced Intermediate - Digital Download Composed by Thomas Oboe Lee. 21st Century, 20th Century, Romantic Period, Funk Jazz, Bebop. Score. 25 pages. Published by Thomas Oboe Lee

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - Digital Download

SKU: A0.587865

Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred. 64 pages. David McKeown #5031045. Published by David McKeown (A0.587865).

16 Favourite Easter Hymns for Saxophone Quartet SATB is a beautiful collection of well-known traditional Easter hymns. They are arranged in four parts for Soprano, Alto, Tenor and Baritone Saxophone. Separate parts are included with the score in one single pdf file. You can watch and listen to two of these hymns (the AAAT version), via the youtube link above.

16 Favourite Easter Hymns for Saxophone Quartet SATB are simply arranged in easy keys and are fun to play for musicians with a year or two’s experience and above. Teachers and students alike will find 16 Favourite Easter Hymns for Saxophone Quartet SATB useful for building ensemble, reading and rhythmic skills.

The hymns are in alphabetical order and are as follows…

·     All Creatures of Our God and King, (Lasst Uns Erfreuen)

·     All Hail the Power of Jesus Name, (Coronation)

·     Before the Throne of God Above, (Before the Throne)

·     Blessed Assurance, (Blessed Assurance)

·     Christ the Lord is Risen Today, (Easter Hymn)

·     Crown Him with Many Crowns, (Diademata)

·     The Day of Resurrection, (Ellacombe)

·     Just as I Am, (Woodworth)

·     I Know that My Redeemer Lives, (Bradford)

·     It is Well with My Soul, (Ville du Havre)

·     A Mighty Fortress is Our God, (Ein Feste Burg)

·     Nothing But the Blood of Jesus, (What Can Wash Away My Sin)

·     There is a Green Hill Far Away, (The Green Hill)

·     Thine Be the Glory, (Judas Maccabeus)

·     Were You There? (Were You There?)

·     When I Survey the Wondrous Cross, (Hamburg)

 There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

 

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download

SKU: A0.1277736

Composed by William Ross (1762-1791). Arranged by James Pybus. Celtic,Chamber,Folk,Irish,Multicultural,Wedding,World. 18 pages. James Pybus #869418. Published by James Pybus (A0.1277736).

The Skye Boat Song is a late 19th-century Scottish song adaptation of a Gaelic song composed c.1782 by William Ross, entitled Cuachag nan Craobh (Cuckoo of the Tree). In the original song, the composer laments to a cuckoo that his unrequited love, Lady Marion Ross, is rejecting him. The 19th-century English lyrics instead evoked the journey of Prince Charles Edward Stuart (Bonnie Prince Charlie) from Benbecula to the Isle of Skye as he evaded capture by government soldiers after his defeat at the Battle of Culloden in 1746. It is often played as a slow lullaby or waltz. It entered the modern folk canon in the twentieth century with versions by Paul Robeson, Tom Jones, Rod Stewart, Roger Whittaker, Tori Amos, and many others. Bear McCreary adapted the song as the opening theme music of the 2014 TV series Outlander, sung by Raya Yarbrough, changing the text of Robert Louis Stevenson's poem Sing Me a Song of a Lad That Is Gone (1892) to Lass to fit the story.
This arrangement for SATB or AATB Saxophone Quartet is suitable for a wide variety of performance and concert settings. The duration is 4:13. Contact me at james.pybus56@gmail.com.

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...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download

SKU: A0.532733

Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 22 pages. Musik Fabrik Music Publishing #1919. Published by Musik Fabrik Music Publishing (A0.532733).

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...

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...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download

SKU: A0.532736

Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 21 pages. Musik Fabrik Music Publishing #1923. Published by Musik Fabrik Music Publishing (A0.532736).

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...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Tenor Saxophone - Level 2 - Digital Download

SKU: A0.587862

Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred. 64 pages. David McKeown #5031039. Published by David McKeown (A0.587862).

16 Favourite Easter Hymns for Saxophone Quartet AAAT is a beautiful collection of well-known traditional Easter hymns. They are arranged in four parts for three Alto and one Tenor Saxophone. Separate parts are included with the score in one single pdf file. You can watch and listen to two of these hymns via the youtube link above.

16 Favourite Easter Hymns for Saxophone Quartet AAAT are simply arranged in easy keys and are fun to play for musicians with a year or two’s experience and above. Teachers and students alike will find 16 Favourite Easter Hymns for Saxophone Quartet AAAT useful for building ensemble, reading and rhythmic skills.

The hymns are in alphabetical order and are as follows…

·     All Creatures of Our God and King, (Lasst Uns Erfreuen)

·     All Hail the Power of Jesus Name, (Coronation)

·     Before the Throne of God Above, (Before the Throne)

·     Blessed Assurance, (Blessed Assurance)

·     Christ the Lord is Risen Today, (Easter Hymn)

·     Crown Him with Many Crowns, (Diademata)

·     The Day of Resurrection, (Ellacombe)

·     Just as I Am, (Woodworth)

·     I Know that My Redeemer Lives, (Bradford)

·     It is Well with My Soul, (Ville du Havre)

·     A Mighty Fortress is Our God, (Ein Feste Burg)

·     Nothing But the Blood of Jesus, (What Can Wash Away My Sin)

·     There is a Green Hill Far Away, (The Green Hill)

·     Thine Be the Glory, (Judas Maccabeus)

·     Were You There? (Were You There?)

·     When I Survey the Wondrous Cross, (Hamburg)

 There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

 

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 1 - Digital Download

SKU: A0.1385695

By Adele. By Adele Adkins and Dan Wilson. Arranged by Jhonatan Lucio Viana. 21st Century,Holiday,Pop,R & B,Thriller. 10 pages. JLVPartitura #969632. Published by JLVPartitura (A0.1385695).

Immerse yourself in this arrangement of Someone Like You by Adele for Saxophone Quartet + Chords (Soprano, Alto, Tenor and Baritone). 

Key Features: 1) Adaptation smooth transition to your instrument, preserving the original music's magic and emotion; 2) Level Intermediate, suitable for those starting out or at an easy intermediate level; 3) Format professionally edited PDF for effortless study and performance; 4) Genre blends classical elements with whimsical touches, appealing to both adults and children; 5) Melody simple yet enchanting, evoking wonder and curiosity; 6) Key Ab Major.

Unlock the transformative power of music in your life! Purchase the sheet music today and immerse yourself in the beauty of this composition. Elevate your musical experience with every note of this carefully crafted arrangement. Don't hesitate any longer, embark on this unique musical journey and enrich your life with every chord.

I'm happy to share this exclusive arrangement to enrich your musical journey. After purchasing the sheet music of your choice, I invite you to explore my extensive collection, accessible on the website under my name: Jhonatan Lucio Viana. Discover a variety of meticulously crafted arrangements for various instruments and voices, all at affordable prices.

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 1 - Digital Download

SKU: A0.1385693

By Adele. By Adele Adkins and Dan Wilson. Arranged by Jhonatan Lucio Viana. 21st Century,Holiday,Pop,R & B,Thriller. 10 pages. JLVPartitura #969630. Published by JLVPartitura (A0.1385693).

Immerse yourself in this arrangement of Someone Like You by Adele for Saxophone Quartet (Soprano, Alto, Tenor and Baritone). 

Key Features: 1) Adaptation smooth transition to your instrument, preserving the original music's magic and emotion; 2) Level Intermediate, suitable for those starting out or at an easy intermediate level; 3) Format professionally edited PDF for effortless study and performance; 4) Genre blends classical elements with whimsical touches, appealing to both adults and children; 5) Melody simple yet enchanting, evoking wonder and curiosity; 6) Key Ab Major.

Unlock the transformative power of music in your life! Purchase the sheet music today and immerse yourself in the beauty of this composition. Elevate your musical experience with every note of this carefully crafted arrangement. Don't hesitate any longer, embark on this unique musical journey and enrich your life with every chord.

I'm happy to share this exclusive arrangement to enrich your musical journey. After purchasing the sheet music of your choice, I invite you to explore my extensive collection, accessible on the website under my name: Jhonatan Lucio Viana. Discover a variety of meticulously crafted arrangements for various instruments and voices, all at affordable prices.

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - Digital Download

SKU: A0.1372070

By Benjamin Hastings. By Benjamin Hastings, Chris Davenport, Cody Carnes, and Michael Lake. Arranged by Jeff Tincher. Christian,Contemporary,Praise & Worship,Sacred. 22 pages. Jeff Tincher #956289. Published by Jeff Tincher (A0.1372070).

Here is the latest (2/1/24) single from Benjamin Hastings. In the original key, this is the live version with Brandon Lake singing with him. A great 6/8 song. Duration = 5:33. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.