Baritone Saxophone Duet Baritone Saxophone - Level 2 - Digital Download SKU: A0.1469085 Composed by Edvard Grieg. Arranged by Rika K. 19th Century,Chamber,Halloween,Romantic Period,Thriller. 2 scores. 4 pages. Rika K. #1047107. Published by Rika K. (A0.1469085). Discover the enchanting world of Edvard Grieg's In the Hall of the Mountain King with our sheet music arrangement adapted for Baritone Sax Duet with Piano; made for beginners and intermediate-level musicians. From Grieg's Peer Gynt Suite No. 1, this piece captures the thrilling pursuit of Peer Gynt through the mountain king's domain with dynamic energy and accessible arrangements.Perfect for educators expanding their teaching repertoire, families introducing young listeners to classical music, or musicians looking for an impressive addition to performances, this adaptation offers both approachability and artistic depth. Dive into Grieg's timeless classic and bring its captivating narrative and evocative melodies to life with our meticulously crafted sheet music.Explore the allure of In the Hall of the Mountain King and enrich your musical journey today!

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.778178 Composed by Richard Wagner. Arranged by John McAllister. Romantic Period,Sacred. 7 pages. John McAllister #6092173. Published by John McAllister (A0.778178). This is an arrangement of the famed wedding tune, Wedding March by Richard Wagner arranged for saxophone quartet. It is a pretty straightforward transcription of the main march segment of the tune. This is especially useful for when a saxophone gets asked to provide music for a friend's wedding.

Tenor Saxophone Duet Tenor Saxophone - Level 2 - Digital Download SKU: A0.1134217 Composed by David McKeown. Children,Christian,Contemporary. Score. 12 pages. David McKeown #734297. Published by David McKeown (A0.1134217). 10 Easy Winter Duets are beautiful new and original compositions by David McKeown arranged for two Tenor Saxophones. They can be played at any time of year, in the Winter to celebrate the season, or in the Summer, to cool you down when the heat gets unbearable! The duets are ideal for players between easy and early intermediate levels. The music also contains chord symbols in concert pitch for optional piano/guitar accompaniment. 10 Easy Winter Duets are Perfect for concert performances large and small;  Fully articulated to help develop that sense of style;   Great for helping with simple rhythms and keeping the pulse;  Road tested with students;  Fun to play;  The titles provoke mental pictures that connect with the player’s musical imagination;  The ten titles are, The Sound of Snow, White Out, Crackling Fire, Grey Sea, Hotpot, Icicles, Red Nose Cosy Toes, Three Sweaters, Christmas Stocking and New Year, No Fear. Click on the YouTube link to see and hear samples from the Clarinet version of this collection. There are thousands more duets available for all standards and styles, in many different instrumental combinations at https://www.sheetmusicplus.com/publishers/david-mckeown/6203Search also for 10 Autumn Duets, 10 Easy Summer Duets and 10 Easy Spring Duets, all arranged for the same instruments.

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 everundertaken. A series of fourteen fugues (last of which is not complete) and four canonswhich are all based on the same d minor theme would perhaps seem, at first glance, to be apendantic academic exercise. However, in the hands of a composer such as Bach, themonothematic material is magnified through repetion which creates a sound universe whichis 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 theorder of the movements. An ordering was given to the work after the composer’s death bythe composer’s son, C. P. E. BACH which attempted to underline the pedogogical aspects ofthe composition (as a sort of a textbook for studying fugues and counterpoint). The orderused in this arrangement respects this ordering as it was given by Bach’s heirs. It wouldseem 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 allowingSaxophonists everywhere to perform this great work. For those who might have scruplesabout performing this work on the saxophone, it is best to follow the example of our pianistfriends, who perform this work and others on an instrument that Bach himself said that hedisliked.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.747217 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Octavo. 7 pages. Christopher Brown #4756811. Published by Christopher Brown (A0.747217). About the song: In Psalm 22:22, David writes, I will praise You to all my brothers; I will stand up before the congregation and testify to the wonderful things You have done. Again, in Psalm 66:16, the psalmist says, Come and listen, all you who fear God, and I will tell you what He did for me. Jesus, after healing a man with a demon, commands the man to go home... and report the great things the Lord has done for you, and how He had mercy on you. The testimony of a life changed by God's love and His great mercy is a powerful tool for both spreading the Good News and resisting temptation. It is good for us to remember and proclaim, both personally and collectively, the great things the Lord has done.Can be performed with piano accompaniment only (available separately), OR with additional band members (rhythm chart included in orchestration), OR with full orchestra (orchestration available separately).Please Note:Performance of this music requires one copy of the vocal score purchased for each singer.Included in your Purchase:Vocal Score (Solo & SATB)Lyrics:Verse 1Let me tell you a story of grace,How the Son of Man died in my place.Raised to life, all my sin was erased.Praise the Name of the Lord.Verse 2Many times I have asked of the Lord,On my knees I have prayed and implored.In the waiting my soul is restored,Praise the Name of the Lord.Chorus 1This is what the Lord has done for me,Paid my debt and set this captive free.Mercy flowed down at Calvary,This is what the Lord has done for me.Verse 3When I’m tempted to fear the unknown,I’m reminded I don’t walk alone.Christ is with me and He’ll lead me home,Praise the Name of the Lord.Chorus 2This is what the Lord has done for me,Paid my debt and set this captive free.Mercy flowed down at Calvary,This is what the Lord has done for me.BridgeOpened these blind eyes to see,Softened this heart to believe,Pardoned my sin on a tree,Now I stand redeemed.Key Change (up whole tone)Chorus 3This is what the Lord has done for me,Paid my debt and set this captive free.Mercy flowed down at Calvary,This is what the Lord has done for me.Chorus 4This is what the Lord has done for me,Paid my debt and set this captive free.Mercy flowed down at Calvary,This is what the Lord has done for me.This is what the Lord has done for me.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.747215 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Octavo. 11 pages. Christopher Brown #4756805. Published by Christopher Brown (A0.747215). About the song: In Psalm 22:22, David writes, I will praise You to all my brothers; I will stand up before the congregation and testify to the wonderful things You have done. Again, in Psalm 66:16, the psalmist says, Come and listen, all you who fear God, and I will tell you what He did for me. Jesus, after healing a man with a demon, commands the man to go home... and report the great things the Lord has done for you, and how He had mercy on you. The testimony of a life changed by God's love and His great mercy is a powerful tool for both spreading the Good News and resisting temptation. It is good for us to remember and proclaim, both personally and collectively, the great things the Lord has done.Can be performed with piano accompaniment only, OR with additional band members, OR with full orchestra*.Please Note:You can purchase individual copies of the vocal part separately on Sheet Music Plus. Performance of this piece requires the purchase of one vocal score per singer.*Full orchestration and parts also available on Sheet Music Plus.Included in your Purchase:Piano AccompanimentLyrics:Verse 1Let me tell you a story of grace,How the Son of Man died in my place.Raised to life, all my sin was erased.Praise the Name of the Lord.Verse 2Many times I have asked of the Lord,On my knees I have prayed and implored.In the waiting my soul is restored,Praise the Name of the Lord.Chorus 1This is what the Lord has done for me,Paid my debt and set this captive free.Mercy flowed down at Calvary,This is what the Lord has done for me.Verse 3When I’m tempted to fear the unknown,I’m reminded I don’t walk alone.Christ is with me and He’ll lead me home,Praise the Name of the Lord.Chorus 2This is what the Lord has done for me,Paid my debt and set this captive free.Mercy flowed down at Calvary,This is what the Lord has done for me.BridgeOpened these blind eyes to see,Softened this heart to believe,Pardoned my sin on a tree,Now I stand redeemed.Key Change (up whole tone)Chorus 3This is what the Lord has done for me,Paid my debt and set this captive free.Mercy flowed down at Calvary,This is what the Lord has done for me.Chorus 4This is what the Lord has done for me,Paid my debt and set this captive free.Mercy flowed down at Calvary,This is what the Lord has done for me.This is what the Lord has done for me.

Jazz Ensemble - Digital Download SKU: AX.00-PC-0014280_TX1 B-flat Tenor Saxophone. Arranged by Victor Lopez. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0014280_TX1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014280_TX1). UPC: 038081328386.Arranger Victor Lopez transforms God, Rest Ye Merry Gentlemen into a fun and easy to play holiday chart for your young players. With an easy rock groove, modest brass ranges, some simple counterpoint and a flexible solo section for one or all winds, this is ideal for the holiday concert. Your band will sound great, it's easy to rehearse and has optional parts for flutes, clarinets, horn, baritone horn and tuba. Try it, you'll like it. (3:49).

Jazz Ensemble - Digital Download SKU: AX.00-PC-0014280_AX1 E-flat Alto Saxophone. Arranged by Victor Lopez. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0014280_AX1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014280_AX1). UPC: 038081328386.Arranger Victor Lopez transforms God, Rest Ye Merry Gentlemen into a fun and easy to play holiday chart for your young players. With an easy rock groove, modest brass ranges, some simple counterpoint and a flexible solo section for one or all winds, this is ideal for the holiday concert. Your band will sound great, it's easy to rehearse and has optional parts for flutes, clarinets, horn, baritone horn and tuba. Try it, you'll like it. (3:49).

Jazz Ensemble - Digital Download SKU: AX.00-PC-0014280_AX2 2nd E-flat Alto Saxophone. Arranged by Victor Lopez. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0014280_AX2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014280_AX2). UPC: 038081328386.Arranger Victor Lopez transforms God, Rest Ye Merry Gentlemen into a fun and easy to play holiday chart for your young players. With an easy rock groove, modest brass ranges, some simple counterpoint and a flexible solo section for one or all winds, this is ideal for the holiday concert. Your band will sound great, it's easy to rehearse and has optional parts for flutes, clarinets, horn, baritone horn and tuba. Try it, you'll like it. (3:49).

Jazz Ensemble - Digital Download SKU: AX.00-PC-0014280_TX2 2nd B-flat Tenor Saxophone. Arranged by Victor Lopez. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0014280_TX2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014280_TX2). UPC: 038081328386.Arranger Victor Lopez transforms God, Rest Ye Merry Gentlemen into a fun and easy to play holiday chart for your young players. With an easy rock groove, modest brass ranges, some simple counterpoint and a flexible solo section for one or all winds, this is ideal for the holiday concert. Your band will sound great, it's easy to rehearse and has optional parts for flutes, clarinets, horn, baritone horn and tuba. Try it, you'll like it. (3:49).

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.713971 Composed by Traditional. Arranged by Jeremy Corcoran. Christmas,Concert,Sacred,Standards,World. 15 pages. LPC Publishers #2950227. Published by LPC Publishers (A0.713971). A Christmas medley of Ukrainian Bell Carol, Patapan, and Sing We Now of Christmas, arranged for SATB or AATB Saxophone Quartet. Challenging but ranges are very reasonable and all parts are interesting. Great way to show off your saxophone quartet or ensemble.

Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3464701. Published by jmsgu3 (A0.549210). A musical monument: the first composition to employ dynamics. Instrumentation: 1 piccolo, 5 concert flutes, 1 alto flute, 1 bass flute 1 cello. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

String Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renaissance,Standards. 45 pages. Jmsgu3 #3479835. Published by jmsgu3 (A0.549267). A musical monument: the first composition to employ dynamics. Minimum instrumentation: 11 cellos.   Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3465004. Published by jmsgu3 (A0.549212). A musical monument: the first composition to employ dynamics. Instrumentation: 3 oboes, 3 English horns, 2 bassoons, 1 contrabassoon. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86.   Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.