By Ray Parker Jr. Arranged by Austin Ralphson. Score, Set of Parts. 20 pages. Published by Austin Ralphson

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1302512 By Ray Parker Jr. By Ray Parker Jr. Arranged by Ralph Raymond Hays. Film/TV,Halloween,Pop,Spiritual,Thriller. 13 pages. Ralph Raymond Hays #892133. Published by Ralph Raymond Hays (A0.1302512). Masterfully crafted and idiomatic to the woodwind quintet, this delightful arrangement is perfect for Halloween or any time of year. Transposed up a minor second from the original for accessibility.

By Ray Parker Jr. By Ray Parker Jr. Arranged by Marcel Handler. Film/TV, Pop, Rock. 19 pages. Marcel Handler #715437. Published by Marcel Handler

Woodwind Ensemble,Woodwind Quintet - Level 4 - Digital Download SKU: A0.1130495 Composed by Franz Schubert. Arranged by Hugh Levey. Chamber,Classical,Halloween,Holiday,Romantic Period. 53 pages. Woodwindly.com #730809. Published by woodwindly.com (A0.1130495). Wind Quintet (Flute, Oboe, Clarinet, Horn, Bassoon) This wind quintet version of Schubert's Erl-King is equally at home as a standard recital piece or used as a piece of ghostly music at Halloween. Erlkönig (The Erl-King) is a dramatic poem by the famous German writer and poet, Goethe, written in 1782. Although it has been set to music by many composers, the most well-known is the 1815 setting by Franz Schubert for voice and piano. The Erl-King is a challenging work for the singer because they must portray four distinct characters; narrator, father, son and the Erlkönig himself. Schubert's writing is different for each character in terms of pitch, harmony, rhythm, key (major and/or minor), and melodic shape. Singers usually alter the timbre of their voice to emphasise the different roles. In this arrangement for wind quintet, the arranger takes the timbre differences a step further by assigning the characters to different instruments in the quintet. The flute plays the role of narrator, the clarinet is the anxious son, the horn plays the reassuring ( but then worried) father, and the oboe plays the Erlkönig with his beautiful enticing melodies that try to lead the boy astray. The bassoon plays the rumbling and troubling bass line that helps set the mood.

Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.949118 Composed by Sir Arthur Seymour Sullivan. Arranged by Ian D. Crew. Concert,Opera,Romantic Period,Standards. 29 pages. Grumpy Mule Music #4640443. Published by Grumpy Mule Music (A0.949118). The iconic ghosts' chorus from Gilbert and Sullivan's 'Ruddigore', arranged for Wind Quintet. This is a bravura arrangement for advanced players; it has a wild, Mahlerian streak, and could be a showstopper in any recital.

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.