Cello Solo - Level 3 - Digital Download SKU: A0.549917 Composed by James M. Guthrie. Instructional,Standards. Individual part. 3 pages. Jmsgu3 #3914671. Published by jmsgu3 (A0.549917). A set of variations for solo cello based upon the madrigal Amarilli mia bella from La Nuove Musiche, 1602, by Giulio Caccini.Amarilli, mia bella is a well-known solo madrigal composed by Giulio Caccini. Included in his collection Le nuove musiche from 1602, It is considered one of the most popular solo madrigals of the 17th century and has remained a prominent piece in vocal pedagogy. Alessandro Guarini wrote the text of the madrigal. The song is distinguished by its leggiadria and dolcezza, and it was one of the first of Caccini's songs to be widely disseminated through Italy and Europe. Amarilli, mia bella is the oldest song in the 24 Italian Songs and Arias. Various composers have reworked it, and it has appeared in vocal anthologies up to the present day.Le nuove musiche is a significant collection of monodies and songs for solo voice and basso continuo by the composer Giulio Caccini, published in Florence in July 1602. It is one of the earliest and most significant examples of music written in the early baroque style of the seconda pratica. The volume contains 12 madrigals and ten arias and is dedicated to Lorenzo Salviati. It is known for its essential introduction, which clearly describes the purpose, intent, and correct performance of monody from the time. The preface also includes musical examples of ornaments and expresses Caccini's disappointment at inappropriate ornamentation by the singers of his day. Le nuove musiche was highly influential and inspired many similar collections in the seventeenth century. It is regularly anthologized in modern collections, and its success changed the course of music history.

Piano,Soprano Flute - Level 5 - Digital Download SKU: A0.1282823 By Peter Sheridan, Flute with John Sawoski, Piano. By Frédéric Chopin (1810–1849). Arranged by John Sawoski. 19th Century,Chamber,Classical,Romantic Period. Score and part. 5 pages. Million Oaks Music #874066. Published by Million Oaks Music (A0.1282823). This arrangement of Variation II from Frédéric Chopin's popular Variations on a Theme by Rossini, sounds more like the mature Chopin. Chopin wrote the Variations at age 14, probably for his father (an amateur flutist) or one of his father's friends. In this version, John Sawoski creates a virtuosic and advanced accompaniment in an idion that resembles Chopin's later compositional style, and includes a more fluid and advanced flute part as performed by Peter Sheridan.

Piano Solo - Level 2 - Digital Download SKU: A0.596715 Composed by James Marler. Arranged by James Marler. Children,Instructional,Standards. Score. 4 pages. Alicorn Music (ASCAP) #3681287. Published by Alicorn Music (ASCAP) (A0.596715). Probably the most famous of all songs sung in a round, this popular children’s song is first found in print – but with a very different melody – in a songbook from 1852. This arrangement is set with the theme and 5 variations.Theme (Level 2)Variation 1 (Level 2)Variation 2 (Level 2)Variation 3 (Level 2)Variation 4 (Level 2)Variation 5 (Level 3)This arrangement is also available in the Childhood: Volume 1 collection at http://ow.ly/iIy830m9iyY

Choral Choir,Choral (SAB) - Level 4 - Digital Download SKU: A0.976959 Composed by Pena Young Publishing. A Cappella,Contemporary,Film/TV,Musical/Show,Opera,Standards. 18 pages. Sabrina Peña Young #5803165. Published by Sabrina Peña Young (A0.976959). A beautiful song cycle for Soprano, Baritone, and Piano from the groundbreaking opera Libertaria. Can be adapted to other voice types or sung as a choir or acapella as needed. The teenage girl Libertaria escapes from the GenTech factory to team up with her addict father. Together they overthrow evil geneticists in with a rag tag cyborg army in this dark musical masterpiece.  Dubbed Wagner 2.0 by the Palm Beach Arts Paper, international award-winning Cuban American composer and filmmaker Sabrina Peña Young creates groundbreaking works  like the animated virtual opera Libertaria and her animated film Spiritus, which premiered at the Buffalo Dreams Fantastic Film Festival. In 2014 Young gave a TED Talk on the importance of online artistic collaboration at TEDxBuffalo. Inspired by science fiction, electroacoustic music, and graphic novels, Young's works have been presented at the Beijing Conservatory, Art Basil Miami, Turkey's Cinema for Peace, Opera America NYC, Art Miami, Animasyros in Greece, NPR Morning Edition, and festivals on 5 continents. In 2018 Young received the prestigious Cintas Foundation Brandon Fradd Composer Fellowship. The Buffalo Dreams Fantastic Film Festival awarded Young the Lois Weber Filmmaker Award in 2019. Young remains very active in the local Western New York film community. Her Filmmaker Boot Camp produces films like Welcome to Space Force and The Cure. Young is the Creative Director of BandWidth Media & Film, a Digital Media and Post Production Studio in Western, New York. 

Piano Solo - Level 3 - Digital Download SKU: A0.1085236 Composed by Keir C. Crawley. Classical,Contemporary. Score. 3 pages. Keir C Crawley #689378. Published by Keir C Crawley (A0.1085236). Another entry in the Ariana Suite, 'Ariana in Eight' is a short piano piece akin to a romantic miniature but with a more contemporary harmonic vocabulary. Composed to celebrate the 8th birthday of my good friend's daughter, 'Ariana in Eight' uses the same motif as the other works in the suite which 'exclaims' Ariana's name. This year Ariana is eight years old so the time signatures and rhythmic impetus often follows patterns of eight quavers, with several sections using a 3, 3, 2 emphasis or variations thereof.

Level 4 - Digital Download SKU: A0.1136488 By Budapest Scoring. By Henry R Bishop. Arranged by David Warin Solomons. Classical,Comedy,Contemporary. Full Performance. Duration 328. David Warin Solomons #736487. Published by David Warin Solomons (A0.1136488). A parodical instrumental version of Henry Bishop's famous tune (There's no place like home). Each variation gives the tune to a different instrument in the group and the various styles represent the various uncles we might visit, who lend their own national flavour to the tune, before returning to our original home. The sequence is: The original composition by Henry R. Bishop Variation 1. Uncle Hamish - involving Scottish snaps and bagpipe drones and a brief quote fom Scotland the Brave Variation 2. Uncle Scott (Joplin) a sort of ragtime version Variation 3. L'Oncle Olivier (Messaien) - a moody version in octatonic mode (one of Messaiens' favourite modes) Variation 4. Uncle Wu - a major pentatonic version in honour of a doctor of mine Variation 5. Onkel Johann (Strauss) a jolly waltz Variation 6. Back Home Performed by Anita Szabó Ildikó Szabady Iza Nagy Boglárka Dávid.

Organ - Level 4 - Digital Download SKU: A0.1299567 Composed by Johannes Richter. 19th Century,20th Century,Classical,Comedy,Sacred. Score. 14 pages. Johannes Richter #889415. Published by Johannes Richter (A0.1299567). Go forth, my heart, and seek delightThat well-known chorale by Paul Gerhardt (Melody: Johann Georg Ebeling) is used to create some special and serious variations with famous motives of several composers like Bach, Beethoven, Johann Strauss or Mozart, closing with a sparkling and happy final. The composer had played that work in several concerts and every time, the listeners where very happy with the music.Geh aus, mein Herz und suche Freud Dieser bekannte Choral von Paul Gerhardt (Melodie: Johann Georg Ebeling) wird hier für einige ernsthafte bzw. seriöse Variationen  genutzt, die berühmte Motive von beispielsweise Bach, Beethoven, Johann Strauss oder Mozart verwenden. Das Werk schließt mit einem fröhlichen Finale. Der Komponist hat das Werk in diversen Konzerten selbst gespielt und das Publikum war stets sehr angetan von der Musik.

Piano - Digital Download SKU: A0.1070859 Composed by Carmelo Mantione. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Full Performance. Duration 510. Carmelo Mantione #5792613. Published by Carmelo Mantione (A0.1070859). A musical journey through the ages on board by Bach's famous Minuet in G major. a series of variations in different historical styles from baroque to classicism to romanticism to post-romanticism to the early twentieth-century avant-garde

Organ - Level 3 - Digital Download SKU: A0.898550 Composed by Matthew Alan Edwards. Arranged by Matthew Alan Edwards. 20th Century,Concert,Contemporary,Sacred. Score. 9 pages. Matthew Alan Edwards #4266089. Published by Matthew Alan Edwards (A0.898550). Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-3 !Immortal, invisible, God only wise describes God’s omnipresence and omniscience, with His hand present in all things on earth in all aspects of life. The four variations follow the four verses of text written by Walter Chalmers Smith (1824-1908) as found in the Hymnal 1982. I leave it to your artistic imagination to interpret how the melodies and harmonies of each variation paint the text. Much like my Opus 2 (Partita Vom Himmel hoch), this set of variations was initially conceived as an improvisation. As such, some rubato should be employed in performance. Registration suggestions are indicated in the score though are by no means binding. To maintain the atmosphere of wonderment established by the first variation, the tempo of the final variation should not be too fast.

Woodwind Ensemble,Woodwind Quintet - Level 4 - Digital Download SKU: A0.553586 Composed by Ludwig van Beethoven. Arranged by Ray Thompson. Classical,Concert,Graduation. 22 pages. RayThompsonMusic #3124225. Published by RayThompsonMusic (A0.553586). The first movement of Sonata no 26 in Ab major arranged for wind quintet. I have tried as far as possible to arranage the piece as though Beethoven would have written it. The horn is in Ab alto and I have tried as far as possible to use the notes of the natural horn.(This works better in some of the variations. I have used Ab basso for variation III. A horn in F part is also  included. Variation 2:I have taken some liberties in that the constant syncopation in the R.H.piano part would not sit well on wind instruments, so I have retained Beethoven's harmonies and maintained the feel of the piece. Variation 3 is in Ab minor (7 flats) so may well present some difficulties for the players playing in an unfamiliar key!. The theme and othe variations are more playable.

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532733 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 22 pages. Musik Fabrik Music Publishing #1919. Published by Musik Fabrik Music Publishing (A0.532733). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532735 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 24 pages. Musik Fabrik Music Publishing #1921. Published by Musik Fabrik Music Publishing (A0.532735). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532736 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 21 pages. Musik Fabrik Music Publishing #1923. Published by Musik Fabrik Music Publishing (A0.532736). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532734 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 21 pages. Musik Fabrik Music Publishing #1917. Published by Musik Fabrik Music Publishing (A0.532734). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1466171 Composed by Johann Sebastian Bach. Arranged by Darrell Goforth. Baroque. 32 pages. Darrell Harrison Goforth #1044794. Published by Darrell Harrison Goforth (A0.1466171). J. S. Bach's work, The Goldberg Variations, BWV 988 are here arranged for Woodwind Quintet.Originally written for Johann Gottlieg Goldberg, the Goldberg Variations were originally published in 1741 and may have been initially performed publically by Herr Gottlieb.This work consists of an Aria and 30 variations.  I have included in this effort the Aria and Variations 1 through 5.  I will publish therest of the variations at a later date.  I think it sounds rather interesting for this ensemble and I hope you enjoy playing it.The cover portrait, as you may have noticed, is not of either Bach or Goldberg.  It is, rather, of a little known younger brother of Johann Sebastian named Robert Feliux Bach.  Bob was neither a composer or musician, but was known as a champion mouser in Hamburg.As always, comments an suggestions are always welcome at darrell.goforth2@gmail,com.