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.  

Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. 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.

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.

Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. 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.  

Clarinet SKU: HL.4474550 Composed by Various. Edited by H. Voxman. Arranged by H. Voxman. Ensemble Collection. Classical, Collection. 40 pages. Rubank Publications #RUBL273. Published by Rubank Publications (HL.4474550). ISBN 9781423444985. UPC: 073999745504. 9.0x12.0x0.101 inches.Easy clarinet trios in score form. Suitable for contest, concert or church performance, these pieces appear on several state contest lists. Includes works by Billings, Corelli, Faber, Grieg, Handel, Mozart, Schubert, Tchaikovsky and others.

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1278168 Composed by William Augustus Montgomery. Arranged by Andrew Lamb. 19th Century,Chamber,Praise & Worship. 9 pages. Andrew Lamb #869865. Published by Andrew Lamb (A0.1278168). Introducing A Dream - a wind quintet arrangement by the Scottish composer William Augustus Montgomery. This arrangement, crafted for Flute, Oboe, Clarinet, Horn, and Bassoon, brings to life the composer's enchanting melodies in a harmonious ensemble. With an intermediate level of difficulty, A Dream is accessible to a wide range of musicians, making it an ideal choice for church services, concerts, recitals, and educational endeavors. Its evocative nature and melodic richness offer performers an opportunity to showcase their skills while collectively weaving a musical tapestry that's both soothing and invigorating. As an exquisite option for an introductory voluntary, A Dream sets the perfect tone for any occasion. Its Scottish origins add a touch of cultural elegance, while the arrangement's versatility allows it to beautifully complement various settings, evoking emotions and connecting with audiences on a profound level. Whether you're a seasoned quintet seeking to expand your repertoire or an educational ensemble exploring the world of chamber music, A Dream offers an unforgettable musical journey. Elevate your performances with this arrangement, and let the enchanting melodies transport you and your listeners to a realm of musical reverie.

Solo Guitar - Level 5 - Digital Download SKU: A0.987853 Composed by Robert M. Greenberg. 20th Century. Individual part. 21 pages. Robert M. Greenberg #115407. Published by Robert M. Greenberg (A0.987853). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 21 minutes Year of composition: 1996 Program Note: I. Toccata/Hands of Steel II. Strum/Serenade III. O Tanenbaum (Toccata reprise) IV. Two-Part Contention V. John Doe VI. True Pluck A number of years ago, the great English guitarist Julian Bream told David Tanenbaum - the dedicatee of tonight's premiere - not to premiere a guitar work unless he knew for a fact it was the composer's second guitar work. Sage advice. The guitar is an instrument that gives up its secrets to a non-guitar playing composer only reluctantly. Indeed, the timbral, digital and chordal subtleties of this most subtle and intimate instrument are truly understood by the guitarist only. Pity the outlander who composes for the guitar for the first time! With this last thought in mind I had, until last fall, managed to avoid writing a guitar piece. However, even the most abject compositional coward will relent when a musician like David Tanenbaum asks for a piece and offers his assistance and critical judgement in its composition. So it was with PLUCK, composed between November of 1995 and January of 1996. Bream's advice notwithstanding, PLUCK is my first guitar piece. Tanenbaum is brave. The title, PLUCK, thus refers to both the action of plucking strings as well as pluck - bravery, grit, true grit. PLUCK is written in six interrelated movements. The first movement, Toccata/Hands of Steel introduces much of the essential pitch and harmonic material of the piece, as well as Flamenco-style rasgueado strumming which, try as I might, I could not resist using. Movement two, Strum/Serenade, explains itself in its title. Movement three, O Tanenbaum (a designation for which David has forgiven me) reprises the Toccata and describes, well, a sort of musical tree (David has forgiven me for this, too). Two-Part Contention is a combatative, argumentative movement that pits the treble strings of the guitar against the bass. Movement 5, John Doe is a lyric and mysterious moment of rest before the manic finale. Movement 6, True Pluck, is a fast, furious and virtuosic finale. PLUCK is dedicated, with greatest respect and affection, to my friend David Tanenbaum. May he only want to play my second guitar piece.

Trombone Duet Trombone - Level 4 - Digital Download SKU: A0.594079 Composed by Traditional. Arranged by David McKeown. Christmas,Jazz,Praise & Worship,Sacred. Score. 4 pages. David McKeown #6537269. Published by David McKeown (A0.594079). Good King Wenceslas is a much-loved Christmas carol. This version is arranged as a duet in a Jazz Swing style for two Trombones. Click on the YouTube link above to listen to a full length performance of this arrangement played on Clarinet.The melody of Good King Wenceslas is Finnish in origin and dates back to the thirteenth century. The Christmas lyrics we know and love were added much later by English hymn-writer John Mason Neale and were first published in 1853. With a performance time a little over three minutes, this version of Good King Wenceslas is perfect for seasonal celebrations and concert performances, both formal and informal. The jazz swing style is a fun and fresh take on this familiar traditional tune.Good King Wenceslas is arranged in a key and range best suited to the instruments. Rhythms are syncopated, as one would expect in swing music, and there is plenty of articulation detail to help deliver an authentic style. While the key is straightforward, there are several chromatic passages to keep players on their toes. The melody is played four times, each version different from the last, with a short intro and outro. This arrangement is suitable for players at an intermediate or early advanced level. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

Instrumental Duet Clarinet,Instrumental Duet,Soprano Saxophone - Level 4 - Digital Download SKU: A0.594076 Composed by Traditional. Arranged by David McKeown. Christmas,Jazz,Praise & Worship,Sacred. Score and parts. 4 pages. David McKeown #6537263. Published by David McKeown (A0.594076). Good King Wenceslas is a much-loved Christmas carol. This version is arranged as a duet in a Jazz Swing style for one Soprano Saxophone and one Clarinet. Click on the YouTube link above to listen to a full length performance of this arrangement played on Clarinet.The melody of Good King Wenceslas is Finnish in origin and dates back to the thirteenth century. The Christmas lyrics we know and love were added much later by English hymn-writer John Mason Neale and were first published in 1853. With a performance time a little over three minutes, this version of Good King Wenceslas is perfect for seasonal celebrations and concert performances, both formal and informal. The jazz swing style is a fun and fresh take on this familiar traditional tune.Good King Wenceslas is arranged in a key and range best suited to the instruments. Rhythms are syncopated, as one would expect in swing music, and there is plenty of articulation detail to help deliver an authentic style. While the key is straightforward, there are several chromatic passages to keep players on their toes. The melody is played four times, each version different from the last, with a short intro and outro. This arrangement is suitable for players at an intermediate or early advanced level. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

Tenor Saxophone Duet Tenor Saxophone - Level 4 - Digital Download SKU: A0.594078 Composed by Traditional. Arranged by David McKeown. Christmas,Jazz,Praise & Worship,Sacred. Score. 4 pages. David McKeown #6537267. Published by David McKeown (A0.594078). Good King Wenceslas is a much-loved Christmas carol. This version is arranged as a duet in a Jazz Swing style for two Tenor Saxophones. Click on the YouTube link above to listen to a full length performance of this arrangement played on Clarinet.The melody of Good King Wenceslas is Finnish in origin and dates back to the thirteenth century. The Christmas lyrics we know and love were added much later by English hymn-writer John Mason Neale and were first published in 1853. With a performance time a little over three minutes, this version of Good King Wenceslas is perfect for seasonal celebrations and concert performances, both formal and informal. The jazz swing style is a fun and fresh take on this familiar traditional tune.Good King Wenceslas is arranged in a key and range best suited to the instruments. Rhythms are syncopated, as one would expect in swing music, and there is plenty of articulation detail to help deliver an authentic style. While the key is straightforward, there are several chromatic passages to keep players on their toes. The melody is played four times, each version different from the last, with a short intro and outro. This arrangement is suitable for players at an intermediate or early advanced level. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

Flute Duet Flute - Level 4 - Digital Download SKU: A0.594067 Composed by Traditional. Arranged by David McKeown. Christmas,Jazz,Praise & Worship,Sacred. Score. 4 pages. David McKeown #6537245. Published by David McKeown (A0.594067). Good King Wenceslas is a much-loved Christmas carol. This version is arranged as a duet in a Jazz Swing style for two Flutes. Click on the YouTube link above to listen to a full length performance of this arrangement played on Clarinet.The melody of Good King Wenceslas is Finnish in origin and dates back to the thirteenth century. The Christmas lyrics we know and love were added much later by English hymn-writer John Mason Neale and were first published in 1853. With a performance time a little over three minutes, this version of Good King Wenceslas is perfect for seasonal celebrations and concert performances, both formal and informal. The jazz swing style is a fun and fresh take on this familiar traditional tune.Good King Wenceslas is arranged in a key and range best suited to the instruments. Rhythms are syncopated, as one would expect in swing music, and there is plenty of articulation detail to help deliver an authentic style. While the key is straightforward, there are several chromatic passages to keep players on their toes. The melody is played four times, each version different from the last, with a short intro and outro. This arrangement is suitable for players at an intermediate or early advanced level. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.594084 Composed by Traditional. Arranged by David McKeown. Christmas,Jazz,Praise & Worship,Sacred. Score and parts. 4 pages. David McKeown #6537279. Published by David McKeown (A0.594084). Good King Wenceslas is a much-loved Christmas carol. This version is arranged as a duet in a Jazz Swing style for one Trumpet and one Trombone. Click on the YouTube link above to listen to a full length performance of this arrangement played on Clarinet.The melody of Good King Wenceslas is Finnish in origin and dates back to the thirteenth century. The Christmas lyrics we know and love were added much later by English hymn-writer John Mason Neale and were first published in 1853. With a performance time a little over three minutes, this version of Good King Wenceslas is perfect for seasonal celebrations and concert performances, both formal and informal. The jazz swing style is a fun and fresh take on this familiar traditional tune.Good King Wenceslas is arranged in a key and range best suited to the instruments. Rhythms are syncopated, as one would expect in swing music, and there is plenty of articulation detail to help deliver an authentic style. While the key is straightforward, there are several chromatic passages to keep players on their toes. The melody is played four times, each version different from the last, with a short intro and outro. This arrangement is suitable for players at an intermediate or early advanced level. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

Instrumental Duet Bassoon,Instrumental Duet,Oboe - Level 4 - Digital Download SKU: A0.594068 Composed by Traditional. Arranged by David McKeown. Christmas,Jazz,Praise & Worship,Sacred. Score and parts. 4 pages. David McKeown #6537247. Published by David McKeown (A0.594068). Good King Wenceslas is a much-loved Christmas carol. This version is arranged as a duet in a Jazz Swing style for one Oboe and one Bassoon. Click on the YouTube link above to listen to a full length performance of this arrangement played on Clarinet.The melody of Good King Wenceslas is Finnish in origin and dates back to the thirteenth century. The Christmas lyrics we know and love were added much later by English hymn-writer John Mason Neale and were first published in 1853. With a performance time a little over three minutes, this version of Good King Wenceslas is perfect for seasonal celebrations and concert performances, both formal and informal. The jazz swing style is a fun and fresh take on this familiar traditional tune.Good King Wenceslas is arranged in a key and range best suited to the instruments. Rhythms are syncopated, as one would expect in swing music, and there is plenty of articulation detail to help deliver an authentic style. While the key is straightforward, there are several chromatic passages to keep players on their toes. The melody is played four times, each version different from the last, with a short intro and outro. This arrangement is suitable for players at an intermediate or early advanced level. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

Clarinet Duet Clarinet - Level 4 - Digital Download SKU: A0.594060 Composed by Traditional. Arranged by David McKeown. Christmas,Jazz,Praise & Worship,Sacred. 2 scores. 4 pages. David McKeown #6537231. Published by David McKeown (A0.594060). Good King Wenceslas is a much-loved Christmas carol. This version is arranged as a duet in a Jazz Swing style for two Clarinets. Click on the YouTube link above to listen to a full length performance of this arrangement.The melody of Good King Wenceslas is Finnish in origin and dates back to the thirteenth century. The Christmas lyrics we know and love were added much later by English hymn-writer John Mason Neale and were first published in 1853. With a performance time a little over three minutes, this version of Good King Wenceslas is perfect for seasonal celebrations and concert performances, both formal and informal. The jazz swing style is a fun and fresh take on this familiar traditional tune.Good King Wenceslas is arranged in a key and range best suited to the instruments. Rhythms are syncopated, as one would expect in swing music, and there is plenty of articulation detail to help deliver an authentic style. While the key is straightforward, there are several chromatic passages to keep players on their toes. The melody is played four times, each version different from the last, with a short intro and outro. This arrangement is suitable for players at an intermediate or early advanced level. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

Instrumental Duet Flute,Instrumental Duet,Oboe - Level 4 - Digital Download SKU: A0.594063 Composed by Traditional. Arranged by David McKeown. Christmas,Jazz,Praise & Worship,Sacred. Score and parts. 4 pages. David McKeown #6537237. Published by David McKeown (A0.594063). Good King Wenceslas is a much-loved Christmas carol. This version is arranged as a duet in a Jazz Swing style for one Flute and one Oboe. Click on the YouTube link above to listen to a full length performance of this arrangement played on Clarinet.The melody of Good King Wenceslas is Finnish in origin and dates back to the thirteenth century. The Christmas lyrics we know and love were added much later by English hymn-writer John Mason Neale and were first published in 1853. With a performance time a little over three minutes, this version of Good King Wenceslas is perfect for seasonal celebrations and concert performances, both formal and informal. The jazz swing style is a fun and fresh take on this familiar traditional tune.Good King Wenceslas is arranged in a key and range best suited to the instruments. Rhythms are syncopated, as one would expect in swing music, and there is plenty of articulation detail to help deliver an authentic style. While the key is straightforward, there are several chromatic passages to keep players on their toes. The melody is played four times, each version different from the last, with a short intro and outro. This arrangement is suitable for players at an intermediate or early advanced level. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203