Bassoon Solo,Contrabassoon - Level 2 - Digital Download SKU: A0.843480 Composed by Johannes Brahms. Arranged by Cássio Silva Chaves. Instructional,Romantic Period,Standards. Individual part. 4 pages. Cassio Silva #6410119. Published by Cassio Silva (A0.843480).

Concert Band - Level 2 - Digital Download SKU: A0.1042418 Composed by Mary Rounsavall. Contest,Festival,Holiday,Instructional,Patriotic,Traditional. Score and parts. 1 pages. Mary Rounsavall #647203. Published by Mary Rounsavall (A0.1042418). Additional Part for Contrabassoon for the Concert Band arrangement of Into the Blue: US Space Force Hymn by Mary Rounsavall.

Instrumental Duet Contrabassoon,Instrumental Duet - Level 2 - Digital Download SKU: A0.1083439 Composed by Giuseppe Sammartini (1695-1750). Arranged by James M. Guthrie. Baroque,Classical,Contest,Festival,Standards,Wedding. Score and parts. 18 pages. Jmsgu3 #687634. Published by jmsgu3 (A0.1083439). Sammartini Op. 1 No. 1 Sonata. Score: 10 pages. Duration: 8:43 I. Andante II. Allegro III. AllegroGiuseppe Sammartini was an Italian composer, oboist, and organist who lived during the Baroque era. He is credited with helping to establish the form of the modern concerto grosso, which would become an important part of the development of classical chamber music. Sammartini wrote many solo and chamber pieces, including sonatas, trios, and concertos. His style is considered to be very graceful and expressive, and his works often contain virtuosic passages.Sammartini's influence on the history of classical chamber music is significant. His compositions demonstrate the shift from the Baroque to the Classical style, and his works served as a bridge between the two periods. His chamber music was often praised by his contemporaries, and he was one of the first composers to use a modern concerto grosso form. Sammartini's influence is also evident in the works of later composers such as Mozart, Haydn, and Beethoven. His legacy can be seen in the music of many contemporary classical chamber music ensembles.

Concert Band - Level 5 - Digital Download SKU: A0.533848 Composed by Barton Cummings. 20th Century,Concert,Contemporary,Standards. Score and parts. 45 pages. Musik Fabrik Music Publishing #3053833. Published by Musik Fabrik Music Publishing (A0.533848). A three-movement Concertante work for contrabassoon and concert band, where in a piano reduction by the composer, which may be performed in concert. 1. Caprice2.  Pavilon Dreams:  The Kooyman Fragments3.  VariationsThe full score and solo part are for sale as an individual item.  The individual parts are also for sale.  The full set is only available as a physical item because of page number restrictions, but may be ordered on this site.

Concert Band - Level 4 - Digital Download SKU: A0.532852 Composed by Therese Brenet. Contemporary,New Age. Score and parts. 5 pages. Musik Fabrik Music Publishing #62109. Published by Musik Fabrik Music Publishing (A0.532852). The contrabassoon part for this work for concert band.

Contrabassoon,Instrumental Duet - Level 2 - Digital Download SKU: A0.1074025 Composed by Josquin des Prez. Arranged by James M. Guthrie. Contest,Festival,Instructional,Renaissance,Traditional,Wedding. 50 pages. Jmsgu3 #678293. Published by jmsgu3 (A0.1074025). Josquin des Prez (c.1450-1521) was a composer of the Renaissance period, widely regarded as one of the greatest composers of all time. His compositions set the standard for polyphonic music and are considered a high point in the history of music. He wrote a wide range of works, including masses, motets, and chansons, and was the first composer to set popular secular tunes as mass movements. His influence can be seen in the works of many later composers, including Johann Sebastian Bach, Antonio Vivaldi, and George Frideric Handel.Josquin des Prez was a prolific composer of chamber music and duets during the Renaissance period. He wrote several types of chamber music and duets, including madrigals, chansons, and motets. His compositions are characterized by their intricate counterpoint, as well as their harmonic richness and emotional expressiveness. His works often featured two voices in harmony, and he was known to use imitation and complex canonic techniques to create interesting musical textures. Josquin's chamber music and duets are renowned for their complexity and beauty, and they remain some of the most influential and admired works from the Renaissance period.Josquin Desprez is widely regarded as one of the most influential composers of the Renaissance period. His innovative use of counterpoint and canon helped to revolutionize the musical landscape of the time. Counterpoint is a technique of combining two or more independent melodies in a way that creates harmony and a cohesive musical texture. Josquin was a master of this technique, often combining multiple voices in complex contrapuntal textures. His use of canon, or round, was also highly influential. Canon involves two or more voices repeating the same melody in different registers and often with different rhythms. Josquin wrote canons in various styles and forms, including the popular “circular canon� and the more complex “strict canon.� He was also an early adopter of the “inverted canon� form, in which the same melody is repeated but in an inverted form. Josquin’s use of counterpoint and canon had a lasting impact on the development of Western music and helped to establish the foundation for many of the musical forms and techniques still used today.Contents: I. Duo from the Augsberger LiederbuchII. Agnus Dei II from Missa De Beata Virgine III. Duo from the Hör Organ tablatureIV. Agnus Dei II from Missa Ave maris stellaV. Benedictus from Missa GaudeamusVI. Agnus Dei II from Missa GaudeamusVII. Pleni sunt coeli from the Sanctus of Missa Hercules dux Ferrarie VIII. Agnus Dei II from Missa La sol fa re mi IX. Benedictus from Missa L'homme armé super voces musicalesX. Benedictus from Missa L'homme armé Sexti Toni XI. Pleni sunt coeli from Missa Malheur me bat XII. Pleni sunt from Missa Mater patris (canon at the major second)XIII. Benedictus from Missa Mater patris XIV. Agnus Dei II from Missa Mater patris (canon at the unison)XV. Pleni sunt caeli from Missa Pange lingua XVI. Benedictus from Missa Pange lingua XVII. Agnus Dei II from Missa Pange lingua XVIII. Pleni sunt from Missa sine nomine XIX. Domine non secundum peccata nostra XX. Ave verum and Cuius latus XXI. In principio erat verbum from Motet Verbum caro factus est XXII. Per illud ave prolatum - Secunda pars of motet Benedicta es caelorum regina.

String Orchestra - Digital Download SKU: A0.1159571 By Richard Byrnes. By Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. Score and parts. 69 pages. Richard Byrnes #759835. Published by Richard Byrnes (A0.1159571). Originally for organ, this fugue is indicated as being composed between 1708 and 1717.This is an arrangement for 10 violins, 4 Celli, Bass & Contrabassoon.You will notice that there are no dynamics offered. Rather find a dynamic level for your group where all of the parts are balanced equally. Please peruse the pages and listen to the recording of the score that is offered to determine whether this arrangement can work for your ensemble.

Instrumental Duet Contrabassoon,Instrumental Duet - Level 3 - Digital Download SKU: A0.551730 Composed by Ludwig van Beethoven. Arranged by James Guthrie, ASCAP. Classical,Instructional,Standards. Score and parts. 19 pages. Jmsgu3 #5708053. Published by jmsgu3 (A0.551730). Beethoven WoO 26 composed in 1792. Duration ca. 7:00 Score: 9 pages.1. Allegro con brio2. Minuetto quasi Allegretto & TrioOriginally scored for flute duo.

String Orchestra - Digital Download SKU: A0.830846 Composed by Claude Debussy. Arranged by Richard Byrnes. 20th Century. Score and parts. 38 pages. Richard Byrnes #6826111. Published by Richard Byrnes (A0.830846). Sarabande is the second piece in a set of 3 under the title Pour le piano.  Published in 1901, it is referred to as being a ‘Memory of the Louvre’, which is the inscription at the head of the score. Whether is written as an impression of a specific painting or other work of art, it is a noble and elegant work.A saraband is a court dance from the 17th and 18th centuries. Set exclusively in triple meter, the dance requires a slower tempo. Debussy was drawn to older forms and sonorities, always recasting them with his unique melodic and harmonic language.This arrangement is for 5 Violins, 2 Violas, 2 Celli, and Contrabassoon.In addition to works by Debussy, we offer works by J.S. Bach, Brahms, Fauré, Glinka, Gottschalk, Granados, Griffes, Lotti, Mozart, Ravel, Richard Strauss, and Turina.

Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.580569 Composed by David Warin Solomons. 20th Century,Contemporary,Jewish. 22 pages. David Warin Solomons #5316491. Published by David Warin Solomons (A0.580569). A klezmer style piece, somewhat camp, based partly on a Yiddish folk song - ikh bin a meidel in de joren.

Instrumental Duet Contrabassoon,Instrumental Duet - Level 2 - Digital Download SKU: A0.612801 Composed by Jean Baptiste Loeillet of Ghent (1688 – 1720). Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditional,Wedding. Score and parts. 59 pages. Jmsgu3 #221995. Published by jmsgu3 (A0.612801). John Baptist Loeillet, a Flemish Baroque composer, wrote six sonatas for flute and basso continuo in his Op. 5 No. 2. This work is widely considered to be some of his most significant compositions, and they are still performed today.The sonatas are divided into three movements each, with two slow movements and one faster one. The flute part is very demanding, as Loeillet often wrote in the high register, and the accompanying basso continuo part provides a solid foundation for the piece. The music has an emotional intensity that was characteristic of the Baroque era, and it features various ornamentations, like trills and mordents. The influence of Corelli can be heard in the contrapuntal textures, and the melodic lines are often based on the scales and modes of the period.Loeillet's Op. 5 No. 2 is a beautiful and captivating work, and its timelessness is a testament to its quality. It has been transcribed and adapted for other instruments, and it remains a popular choice for many classical musicians.Contents:Sonata No. 1 Duration: 9:45 Score: 8 pages 1. Vivace 2. Affetuoso e Poco Vivace 3. Allegro 4. Largo 5. AllegroSonata No. 2 Duration: 16:00, Score: 12 pages 1. La¬rgo 2. Allegro 3. Largo 4. Vivace 5. Vivace 6. Largo 7. GigaSonata No. 3 Duration: 19:20, Score: 14 pages 1. Vivace 2. Largo 3. Gavotto – Allegro 4. Sarabanda 5. Allegro 6. Largo 7. Menuet 8. Giga - AllegroSonata No. 4 Duration: 11:08, Score: 10 pages 1. Vivace 2. Gavott 3. Largo 4. Allegro 5. Sarabanda - Largo 6. AllegroSonata No. 5 Duration: 7:49, Score: 7 pages 1. Largo 2. Allegro 3. Largo 4. GavottSonata No. 6 Duration: 9:42, Score: 8 pages 1. Andante 2. Adagio 3. Allegro 1 4. Allegro 2.

Bass Clarinet,Instrumental Solo - Digital Download SKU: A0.1309189 Composed by Jason Alder. 20th Century,21st Century,Instructional. Individual part. 51 pages. AMA Editions #898361. Published by AMA Editions (A0.1309189). The most comprehensive fingering chart for contrabass clarinet, with separate charts for Leblanc, Selmer & Eppelsheim extended range contrabass clarinets. It contains over 150 fingerings for each model over a five-and-a-half octave range in quarter-tones from written C3 to Bâ™­8.Author's Notes:Following the success of my clarinet and, in particular, bass clarinet quarter-tone and altissimo fingering charts, I have produced new charts for contrabass clarinet. The focus of these has been the extended range low C models produced by Leblanc, Selmer, and Eppelsheim. Due to the non-standardized design and keywork functionality of these instruments, completely separate charts are required for each model. Players with low Eâ™­ models such as those by Vito and Leblanc may also find these as a useful starting point to discover necessary fingerings, however, they have not been tested on these instruments.One striking difference of the contrabass clarinet fingering charts to those previously for clarinet and bass clarinet is the lack of quarter-tone fingerings in the chalumeau and clarion registers. The reason for this is that suitable fingerings are just not available in this range. Fingering changes can result in timbral and microtonal changes, but in the contrabass register the pitches are too far away from each for effective true quarter-tone fingerings. If quarter-tones are needed in this range, a combination of fingering, embouchure, and voicing adjustments need to be made. As this introduces far too many personal variables, it is ineffectual to create fingerings for them. The upper register is far more flexible, however, so the quarter-tones begin there.

Small Ensemble Baritone Saxophone,Bass Saxophone,Piano - Level 5 - Digital Download SKU: A0.533585 Composed by Carson Cooman. Concert,Contemporary,Standards. Score and parts. 15 pages. Musik Fabrik Music Publishing #3029121. Published by Musik Fabrik Music Publishing (A0.533585). Polpis Dreaming (2002) for contrabass saxophone and piano was commissioned for and isdedicated to Jay C. Easton. The work was inspired by Easton's championing of the more unusual members of the saxophone family, particularly the contrabass with its incredibly powerful and deep sound.  This work is recorded on Easton's SoLow CD.The title refers to Polpis, a region of Nantucket Island, Massachusetts that borders Nantucket Harbor with a variety of smaller inlets. This work is one of a variety of pieces connected to the landscape of Nantucket. In the case of this piece, the extra-musical image was one of the incredible depth of the ocean (perhaps parallel to the depth of the contrabass saxophone's sound) slowly being explored/achieved through the means of inlets.The work's basic material comes from the saxophone's opening gesture, which moves upwardfrom the bottom of the instrument. The pitch material and interval content that are transformed throughout the work are presented in that motion.The first section of the work is declamatory, with lyric impulses. The material of the work is unfolded as the sounds of the piano's resonance, combined with the tone of the contrabass saxophone are explored. A faster middle section occurs next in which the harmonic gestures and transformations are always moving towards greater consonance. After the middle section, there is a return to the mood of the opening, although the material of the middle section also appears in transformation.

Full Orchestra - Level 5 - Digital Download SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik Music Publishing #4283537. Published by Musik Fabrik Music Publishing (A0.534554). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher.  The piano reduction with the solo part is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...

Solo Sub Contrabass Flute - Intermediate-Advanced - Digital Download SKU: F2.FM109 Composed by Lynne Williams. Part. 3 pages. Forton Music - Digital #FM109. Published by Forton Music - Digital (F2.FM109). ISBN 9790570480081.Solo Sub Contrabass Flute. An exciting addition to the repertoire of a newly emerging instrument. Heard mostly in flute choirs and ensembles, this is a chance to give the giant of the flute family the spotlight. Some extended techniques used, and the key slaps actually work extremely well on the longer tube of this flute. Using a range of two octaves and with some long phrases, this piece presents some challenges unique to the sub contrabass flute.