Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download

SKU: A0.1349490

By Sam Smith. By Ed Sheeran, Fred Gibson, James Napier, Johnny McDaid, Samuel Frederick Smith, and Steve Mac. Arranged by Jacob Klingsten. 21st Century,A Cappella,Contemporary,Singer/Songwriter. 16 pages. Jacob Klingsten #934182. Published by Jacob Klingsten (A0.1349490).

Who We Love by Sam Smith is a moving ballad that has beautiful harmonic integrity. This arrangement is for average- to larger-sized SATB a cappella groups, and sits at a intermediate-advanced difficulty for high school/collegiate groups. This arrangement is similarly for the a cappella group looking to explore cluster chords while fulfilling a slow, but moving ballad slot for your song set. While there isn’t a vocal percussionist part in the score, there is a slight amount of body percussion involved in the second verse, which can be replaced by a vocal percussionist if desired.

This arrangement features incredible harmonies, including many cluster chords that sound full and rich; these cluster chords are often met with two- and occasionally three-part splits within each voice part, which makes it crucial for each part to be solid. If your group does not have enough members to satisfy the three-part splits, one of the notes can be omitted for a similar sounding product. Additionally, there are two solo opportunities featured, each with the exact same range. If only one solo is desired, the soloist can simply follow the melody. Finally, this arrangement also has a unique ending -- instead of ending on the four (IV) chord, like in the original recording, the final progression resolves to the tonic with a tear-jerking minor four (iv) to one (I). 

Additional Details:

• Key: B major
• 16 Pages
• Length: 2m 50s
• Ranges:
  • Solos 1/2: F#3-G#5
  • Soprano: C#4-D#5
  • Alto: A#3-F#4
  • Tenor: F#3-C#4
  • Bass: F#2-F#3 (optional notes between B1 and E#2)

If you would like the score changed to fit your ensemble's needs, the practice tracks to this piece once purchased, or if you are looking to have a new arrangement commissioned for your ensemble, please let Jacob Klingsten, the arranger, know at jacobkarranging@gmail.com. He will change the score to your needs (within reason) and provide practice tracks at no additional charge to your purchase, and he typically charges $50-75 per commissioned arrangement. Jacob would love to work with you and your ensemble!

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 is
dedicated 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.