SKU: A0.984251

Song collector Alexander Campbell wrote a setting of this comical poem about a piper and a triyodyan - which I think was what they would have called a village simpleton.  An ungainly lout, at any rate!  The tune is awkward and lumbering, but I have a certain affection for it - it's quite comical!  The last movement of my saxophone quartet, and a fitting ending.

SKU: A0.515337

Pilgrim’s Chorus, from the opera Tannhäuser by Richard Wagner arranged for Saxophone Quintet. This is moderately easy arrangement to easier advanced depending on the part. Playing time approximately 3:10. To view and listen to this piece in its entirety as well hundreds of other arrangement and transcriptions by Kenneth Abeling at the lowest prices available please visit: https://lincolnmusicpublications.com/

SKU: A0.714947

The second of a suite of four dances for piano, Norwegian Dance No. 2 for Saxophone Quartet (SATB or AATB), is in a style of dance popular to Norway. The piece creates folksong common to the style of the native music of Grieg's country.

SKU: A0.1340925

SKU: A0.1316113

No.1 We Three Kings

No.2 The Angel Gabriel

I have arranged these pieces so that they can be played by grade four standard players and upwards!

I have added an optional piano part for added support.

Download includes the score and all of the parts.

SKU: 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.