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

SKU: A0.708695

Composed by Johann Pachelbel. Arranged by Paulo Galvao Filho. Baroque. 13 pages. Paulo Galvao Filho #6363469. Published by Paulo Galvao Filho (A0.708695).

Saxophone Quartet,Woodwind Ensemble - Digital Download

SKU: A0.1448310

Composed by Heinrich Scheidemann. Arranged by Paul Kajzar. Baroque. 8 pages. Paul Kajzar, Gyllcott Music #1028250. Published by Paul Kajzar, Gyllcott Music (A0.1448310).

An arrangement for saxophone quartet (soprano, alto, tenor, baritone) of one of the many pieces that German composer, Heinrich Scheidemann (1595-1663), wrote for organ. This fugue is somewhat contemplative in nature and might make an ideal short, reflective item for inclusion in a recital programme. The set comprises full score and parts. Difficulty level : Intermediate.

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

SKU: A0.1459298

Composed by G. B. Martini. Arranged by BRIAN W. COPPING. Chamber,Contest,Festival,Pop,Wedding. 18 pages. EMK Music #1038240. Published by EMK Music (A0.1459298).

Scored for 2 Altos, Tenor and Baritone Saxophones. There are Alternative Parts so it can be performed by four Altos. This is especially useful for teachers of groups of like instruments.

‘Plaisir D’Amour’, ‘The Pleasure of Love’, was written by G. H. Martini in 1784. It has remained extremely popular inspiring contemporary versions like Elvis Presley’s ‘Can’t Help Falling in Love’ and many recordings by well-known artists like Paul Robeson, Nana Mouskouri and Charles Aznavour.

By The Manhattan Transfer. By Michel Paul Fugain and Wayne Shanklin. Arranged by Wayne Land. Contemporary. 17 pages. Kenneth Wayne Land #6496795. Published by Kenneth Wayne Land

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

SKU: A0.534105

Composed by Jacques Offenbach. Arranged by Paul Wehage. Opera,Romantic Period. 45 pages. Musik Fabrik Music Publishing #3113255. Published by Musik Fabrik Music Publishing (A0.534105).

The Children's Maid is a one-act comic opera about a maid who has two suitors, a fireman and a chimneysweep. After much hestiattion, she decides to marry the trumpet player in the Royal Guards. In the Overture, there are many military themes as well as the French traditional lullabye Do, Do, L'enfant do. A great way to begin your concert!

By Paul McCartney. Arranged by Gary D. Belshaw. Score, Set of Parts. 19 pages. Published by Gary D. Belshaw Music (H0.138575-945640). - Score,Set of Parts - - Gary D. Belshaw Music

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

SKU: A0.1335431

By John Denver. By Adolphe-Charles Adam, D.s. Dwight (trans.), and Placide Cappeau (French). Arranged by RODRIGO BENEDUCCI. Christian,Christmas,Classical,Folk,Wedding. 15 pages. Paulo Galvao Filho #921265. Published by Paulo Galvao Filho (A0.1335431).

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

SKU: A0.534471

Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Christmas,Easter,Sacred. 207 pages. Musik Fabrik Music Publishing #3520187. Published by Musik Fabrik Music Publishing (A0.534471).

The Orgelbüchlein (Little Organ Book) BWV 599−644 is a collection
of 45 chorale preludes for organ written by Johann Sebastian Bach. All
but three of them were composed during the period 1708–1717, while
Bach was court organist at the ducal court in Weimar. The remaining
three, along with a short two-bar fragment, were added in 1726 or later,
after Bach's appointment as cantor at the Thomasschule in Leipzig. The
45 comlete pieces are divided up according to the liturigcal year:
L’Orgelbüchlein (Le Petit LIvre D‘Orgue) BWV 599−644 est une
collection de 45 chorale preludes for organ écrites par Johann Sebastian
Bach. Tout, sauf trois ont été composées pendant la période ou Bach était
l’organiste titualaire au cour du Duc de Weimar entre 1708 et 1717, while
Bach was court organist at the ducal court in Weimar. Les trois resentante
ont été ajoutée vers 1726, après la nomination de Bach comme Maître de
Chapelle au Thomasschule à Leipzig. Les 45 pièces sont divisée selon
The 45 comlete pieces are divided up according to the liturigcal year:
Advent /Avent
1. Nun komm' der Heiden Heiland, BWV 599 (A minor)
2. Gott, durch deine Güte, BWV 600 (F major)
3. Herr Christ, der einge Gottessohn, BWV 601 (A major)
4. Lob sei dem allmächtigen Gott, BWV 602 (D minor)
Christmas/Noël
5. Puer natus in Bethlehem, BWV 603 (G minor)
6. Gelobet seist du, Jesu Christ, BWV 604 (G major)
7. Der Tag, der ist so freudenreich, BWV 605 (G major)
8. Vom Himmel hoch, da komm ich her, BWV 606 (D major)
9. Vom Himmel kam der Engel Schaar, BWV 607 (G minor)
10. In dulci jubilo, BWV 608 (A major)
11. Lobt Gott, ihr Christen, allzugleich, BWV 609 (G major)
12. Jesu, meine Freude, BWV 610 (C minor)
13. Christum wir sollen loben schon, BWV 611 (E minor)
14. Wir Christenleut', BWV 612 (G minor)
New Year/Nouvelle Année
15. Helft mir Gottes Güte preisen, BWV 613 (B minor)
16. Das alte Jahr vergangen ist, BWV 614 (A minor)
17. In dir ist Freude, BWV 615 (G major)
Epiphany (Feast of the Purification)
18. Mit Fried’ und Freud’ ich fahr’ dahin, BWV 616 (D minor)
19. Herr Gott, nun schleuß den Himmel auf, BWV 617 (A minor)
Passion
20. O Lamm Gottes, unschuldig, BWV 618 (F major)
21. Christe, du Lamm Gottes, BWV 619 (F major)
22. Christus, der uns selig macht, BWV 620 (A minor)
23. Da Jesus an dem Kreuze stund, BWV 621 (A minor)
24. O Mensch, bewein’ dein’ Sünde groß, BWV 622 (E-flat major)
25. Wir danken dir, Herr Jesu Christ, BWV 623 (G major)
26. Hilf, Gott, daß mir's gelinge, BWV 624 (G minor)
Easter/Pâques
27. Christ lag in Todes Banden, BWV 625 (D minor)
28. Jesus Christus, unser Heiland, BWV 626 (A minor)
29. Christ ist erstanden, BWV 627 (D minor)
30. Erstanden ist der heil’ge Christ, BWV 628 (D major)
31. Erschienen ist der herrliche Tag, BWV 629 (D minor)
32. Heut’ triumphiret Gottes Sohn, BWV 630 (D minor)
Pentecost/Pentecôte
33. Komm, Gott Schöpfer, Heiliger Geist, BWV 631 (G major)
34. Herr Jesu Christ, dich zu uns wend’, BWV 632 (F major)
35. Liebster Jesu, wir sind hier, BWV 633 (A major)
Cathechism
36. Dies sind die heil’gen zehn Gebot’, BWV 635 (C major)
37. Vater unser im Himmelreich, BWV 636 (D minor)
38. Durch Adam’s Fall ist ganz verderbt, BWV 637 (A minor)
39. Es ist das Heil uns kommen her, BWV 638 (D major)
Christian life/Vie Chrétienne
40. Ich ruf’ zu dir, Herr Jesu Christ, BWV 639 (F minor)
41. In dich hab’ ich gehoffet, Herr, BWV 640 (E minor)
42. Wenn wir in höchsten Nöthen sein, BWV 641 (G major)
43. Wer nur den lieben Gott lässt walten, BWV 642 (A minor)
Death and Burial/La Mort et l’Enterrement
44. Alle Menschen müssen sterben, BWV 643 (G major)
45. Ach wie nichtig, ach wie flüchtig, BWV 644 (G minor)

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 5 - Digital Download

SKU: A0.534350

Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Concert,Standards. 242 pages. Musik Fabrik Music Publishing #3368447. Published by Musik Fabrik Music Publishing (A0.534350).

The Art of the Fugue is considered to be one of the greatest musical creations ever
undertaken. A series of fourteen fugues (last of which is not complete) and four canons
which are all based on the same d minor theme would perhaps seem, at first glance, to be a
pendantic academic exercise. However, in the hands of a composer such as Bach, the
monothematic material is magnified through repetion which creates a sound universe which
is all it’s own.

The work is also shrouded in mystery, as there are no tempo indications in the manuscript,
no indications of the instrumentation which Bach intended and no clear indication as to the
order of the movements. An ordering was given to the work after the composer’s death by
the composer’s son, C. P. E. BACH which attempted to underline the pedogogical aspects of
the composition (as a sort of a textbook for studying fugues and counterpoint). The order
used in this arrangement respects this ordering as it was given by Bach’s heirs. It would
seem probable however, that this order was not that intended by Bach.

The editor hopes that this new version of the Art of the Fugue will be useful in allowing
Saxophonists everywhere to perform this great work. For those who might have scruples
about performing this work on the saxophone, it is best to follow the example of our pianist
friends, who perform this work and others on an instrument that Bach himself said that he
disliked.

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,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...