Get the blues by playing in small or large ensembles of woodwinds, brass, strings, or rhythm section! Play together in harmony with classmates, family, and friends. Use any combination of instruments and any skill level. Everyone can play the blues! As a conductor of school bands or ensembles you're always looking for arrangements that can be played by players of different levels and instrument groups. At many times such arrangements don't fit to what you require. Alfred's Flex-Ability series will fit for you! Arranged for multi-level instrumentalists to play popular music together, this Flex-Ability Blues series will enable you: - to perform each blues song either as solo, duet, trio, quartet, and/or quintet; - to bring together players of different levels; - to choose your individual ensemble of any size; - to combine any instrument part from any book with any part from the other books. The Flex-Ability Blues series provides you with seven instrumental books including ten blues songs in five-part score form you can use in such a flexible way. The Brass B.C. Edition for Trombone, Baritone B.C., Tuba, opt. Bassoon includes: Top line (solo/melody): Level 2 -3 . 2nd line (duet/harmony): Level 2 -3 . 3rd line (trio/harmony): Level 2-3. 4th line (quartet/harmony): Level 2-3. bottom line (quintet/bass line): Level 2-3 . The arrangements are carefully crafted to sound authentic, optional octaves are included to allow for range flexibility. To help you practice, a downloadable PDF Piano accompaniment for all the pieces in this book is available online. This way, you definitely will have the blues!
High Quality Content by WIKIPEDIA articles! In music, an octet is a musical ensemble consisting of eight instruments or voices, or a musical composition written for such an ensemble. Octets in classical music are one of the largest groupings of chamber music. They tend to be scored in one of the following arrangements: String Octet - This arrangement is made up entirely of strings. Felix Mendelssohn's Octet Op. 20 is an example, as is the string octet by Dmitri Shostakovich. o Double quartet - Double quartets are made up of two string quartets, often arranged antiphonally. Louis Spohr composed such octets, as did George Enescu. Wind Octet - Usually scored for 2 oboes, 2 clarinets, 2 horns, and 2 bassoons, Mozart and Beethoven composed in this genre, also known as Harmonie. Igor Stravinsky's wind octet is in an unusual grouping of flute, clarinet, two bassoons, two trumpets, and two trombones. Wind and String Octet - a combination of forces, popularized by Franz Schubert (whose Octet is for clarinet, bassoon, horn, violins, viola, cello, and double bass).
Bach composed the Trio Sonatas for organ BWV 525 &#8211; 530 between 1727 and 1730 when he was Thomaskantor in Leipzig. Bach&#8217;s first biographer Johannn Nikolaus Forkel states that he composed them for his son Wilhelm Friedemann, &#8220;who had to practice them in order to become the great organist he later turned into. One cannot say enough about their beauty.&#8220; As early as the middle of the 18th century, the first arrangement for violin, violoncello and bass was written. Countless versions for other instruments followed. Mozart arranged three movements for violin, viola and violoncello. In the 20th century Bartók and Kabalevsky made versions for piano solo. The trio sonata as a baroque genre usually employs four players: two solo parts (violin, flute or oboe), a bass part (violoncello, violone or bassoon) and the continuo part (organ, harpsichord or flute). Bach&#8217;s Sonatas for organ require highly independent hands and feet and subtle differentiation to portray the three parts as two individual instruments accompanied by a bass line. Obviously, the pedal part is not as virtuosic as it would be for the left hand of a keyboard player. And that makes it even more suitable for a less experienced tenor or baritone saxophone player in the present edition. To give those players who are not yet familiar with baroque music some ideas, I have included a few suggestions. Bach gave tempo instructions for all but the first movement. The metronome markings provide some orientation; the players should adjust the tempo according to their musical taste and capabilities. Except for the slurs at the beginning of the second movement, there are no further articulations in the manuscript. The articulations in this edition do not need to be taken literally; a slur does not always mean legato &#8211; it rather represents a musical unit; slight tonguing won&#8217;t hurt the line. Likewise, the staccato dots do not always indicate short notes &#8211; they show upbeats which are not clearly visible, syncopations which could use emphasis or simply suggest separated eight notes (like in the theme of 1st movement). In general, larger intervals should be separated more clearly ; one will have to determine if they are accompaniment figures in argeggios (as is often the case in the bass part) or melodically significant lines. As the movements progress, the articulations in parallel or simi-lar passages were left out. A lot can be learned from this sonata, not only in regard to phrasing and articulation. And it is an extraordinary pleasure to play and perform it &#8211; the movements could hardly be more diverse in mood and character. To quote Forkel again: &#8220;One cannot say enough about their beauty.&#8220; Olaf Mühlenhardt, 3/2005 Instrumentation: 3 saxophones (SABar/SAT) BWV 525
Harmoniemusik &#8211; Music for Wind Instruments arranged for Saxophone Quartet in Four Volumes. Dating back to circa 1770, &#8220;Harmoniemusik&#8221; &#8211; music for wind instruments &#8211;was originally conceived for wind orchestras. Scored for wood and brass instruments, it was mainly performed at open-air concerts and as &#8220;Tafelmusik&#8221; (table music). The standard instrumentation used to include pairs of oboes, clarinets, horns and bassoons forming a wind octet; the ensemble was often complemented by additional bass instruments such as a double bassoon, a double bass or further wind instruments. Mostly, it was the composers themselves who arranged their works for wind instruments. This does not hold true for the original Barber of Seville &#8220;Harmoniemusik&#8221;. It was written by the clarinetist Wenzel Sedlák. The version on hand takes up &#8220;Harmoniemusik&#8221; tradition and transposes the magnificent melodies of this opera into a contemporary musical setting via saxophone quartet. Instrumentation: 4 saxophones (SATBar)
The seven chamber music pieces are among Hindemith's most successful instrumental works of the 1920s and, in addition, of the new music of that time per se. At the world premiere of Chamber Music No. 1, the audience even demanded a repetition of the third and fourth movements. But the title is misleading: The individual pieces actually have concertante soloistic features instead of submitting to chamber music traditions. And so Chamber Music No. 3 is written for violoncello obbligato and 10 solo instruments. The score is based on Vol. VI/1 (PHA 401) of the Hindemith Complete Edition, edited by Giselher Schubert. Instrumentation: solo-cello, flute (Piccolo), oboe, clarinet (Bb and Eb), bassoon, horn (F), trumpet (C), trombone, violin, cello and double bass op. 36/2
Bach composed the six Trio Sonatas for Organ BWV 525 &#8211; 530 probably between 1727 and 1730 when he was Cantor at the St. Thomas Church in Leipzig. The trio sonata as a baroque genre usually employs four players: two solo parts (violin, flute or oboe), a bass part (violoncello, violone or bassoon) and the continuo part (organ, harpsichord or lute). It is assumed that during his time in Köthen (1717 &#8211; 1723), Bach composed a few dozen trio sonatas for various instruments, of which very few have survived. In fact, the Triosonata for two Flutes and Continuo BWV 1039, along with the one from the Musical Offering (which was written much later), is the only one of which the authenticity can be regarded as certain. Bach arranged it for Viola da Gamba and harpsichord (BWV 1027). The upper solo part is played by the right hand of the harpsichordist while the Viola plays the second part an octave lower. Later, Bach arranged the last movement for organ (Trio in G). Here, the pedal plays a slightly simplified bass, and the left hand takes up the second part. Maybe some of the movements of the six Trio Sonatas for Organ go back to lost compositions Bach has arranged in a similar manner. There are earlier versions of many movements, and the original of at least one movement (BWV 528, I.) was written for more than one instrument: the Sinfonia of the second part of Cantata BWV 76 which is set for Oboe d&#8217;amore, Viola da Gamba and Basso Continuo. The linear, distinctly chamber music-like disposition of the Sonatas further supports this assumption, and a number of recent recordings of the Sonatas with two solo instruments and basso continuo convincingly justify the reconstruction of a hypothetical original. The sixth Trio Sonata might be the only one that Bach explicitly composed for this collection. The particularly high number of changes in the manuscript might indicate that he was still working on it when he copied the Sonata into the collection. The first movement Vivace has a certain resemblance with the first movement of Bach&#8217;s Italian Concerto for harpsichord. It is a concerto movement, but the solo and tutti passages are often ambiguous. The unison in the beginning is unparalleled in the Trio Sonatas and emphasizes the concerto character of this movement. The first theme returns in modified forms: syncopated (bar 53), in sequence (bar 73) and embellished in minor (101). Extended arpeggios in the interludes (T 37 &#8211; 52, 85 &#8211; 100 und 137 &#8211; 152) and a remarkably active bass (bar 101) effectively contrast the homophone main theme. The declamatory character and its rhythmically and melodically independent solo parts make the Lento sound more like an aria from Bach&#8217;s cantatas with obligato (violin, flute or oboe) than a chamber sonata. There are elements of the Siciliano (esp. the dotted 6/8 rhythms) and the bass gets involved in the thematic development. Like in Sonatas BWV 526, 528, und 529 the bass is also involved in the development of the fugue subject in the last movement Allegro. While the first theme only employs one and a half bars, the second theme in the parallel minor stretches over four bars and dominates the middle section with motivic sequences and frequent modulations. Due to the range (first theme soprano) the Sonata was transposed a half-step above the original key. For the same reason, the upper parts were switched in bars 156 &#8211; 160. The alto part was transposed an octave down in bars 21 and 22 (with two eight notes pickup). The 8va in the third movement can be performed as written. Instrumentation: 3 saxophones (SABar/SAT) and cello ad lib BWV 530
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. Instrumentation: violin, viola, cello, double bass, clarinet, horn and bassoon op. 20
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. Instrumentation: violin, viola, cello, double bass, flute, oboe, clarinet, horn and bassoon op. 31
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. Instrumentation: flute, oboe, clarinet, trumpet, horn, bass clarinet and bassoon