Partitions Numériques de I Hear Your Voice pour Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor

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I Hear Your Voice
Non classifié 370

Piano & claviers
Piano, Voix et Guitare 431
Piano, Voix 284
Piano seul 20
Piano Facile 6
Instruments en Do 4

Orgue 1

+ 1 instrumentations

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Guitares
Guitare notes et tablatures 8
Ligne De Mélodie, (Paroles) et Accords 2
Ukulele 2
Paroles et Accords 2
Mandoline 1

Voix
Chorale SATB 108
Chorale TTBB 76
Voix Tenor 26
Voix Alto, Piano 24
Chorale 3 parties 24

Voix Soprano 23
Voix duo, Piano 12
Voix duo 5
Chorale 2 parties 5
Chorale SSAA 5
Voix Soprano, Piano 4
Voix Tenor, Piano 3
Chorale Unison 2
Voix haute 2
Chorale SSATTB 1
Voix Mezzo-Soprano, Piano 1

+ 11 instrumentations

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Vents
Hautbois, Piano (duo) 3
Flûte traversière et Piano 2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 2

Flûte traversière 2
Saxophone Alto et Piano 2

Clarinette Basse, Piano 1
Flûte, Hautbois, Clarinette, Basson 1
Clarinette et Piano 1
Saxophone Tenor et Piano 1
Flûte et Guitare 1
Saxophone Soprano et Piano 1
2 Flûtes traversières (duo) 1
Cor anglais, Piano 1
Hautbois (partie séparée) 1
Saxophone Baryton, Piano 1

+ 10 instrumentations

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Cuivres
Trombone et Piano 3
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 2
Trombone 1
2 Trompettes (duo) 1
Euphonium, Piano (duo) 1

Cor anglais, Piano 1
Tuba 1
Trompette 1

+ 3 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 6
Violon et Piano 4
Violon, Violoncelle (duo) 4
Harpe, Voix 3
Violoncelle, Piano 2

Trio à Cordes: violon, alto, violoncelle 2
Alto, Piano 2
2 Violons (duo) 1
Violon 1
Harpe 1
Trio à Cordes: 3 violoncelles 1
Contre Basse 1
2 Violoncelles (duo) 1

+ 8 instrumentations

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Percussions & orchestre
Orchestre à Cordes 11
Orchestre de chambre 5
Orchestre d'harmonie 5
Cloches 4
Ensemble Jazz 2

Orchestre 2
Ensemble de cuivres 1
Ensemble de Percussions 1

+ 3 instrumentations

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I Hear Your Voice

Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor

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2 partitions trouvées

Bach Fuga BWV 539 For Woodwind Quintet

Bach Fuga BWV 539 For Woodwind Quintet #Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor #AVANCÉ #Classique #Johann Sebastian Bach #Luis Anjos Teixeira #Bach Fuga BWV 539 For Woodwind #Luis Anjos Teixeira #SheetMusicPlus

Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standa...(+)

Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the â€žArt of playing the silence and the Art of the â€žduration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-â€žplease play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This â€žGhost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice â€žtakes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. Thank you very much f.

$25.00 ≈ 23.02€

Air In D For Woodwind Quintet

Air In D For Woodwind Quintet #Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor #FACILE #Classique #Johann Sebastian Bach #Luis Anjos Teixeira # #Air In D For Woodwind Quintet #Luis Anjos Teixeira #SheetMusicPlus

Woodwind Ensemble,Woodwind Quintet - Level 2 - SKU: A0.889424 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Christmas,Conc...(+)

Woodwind Ensemble,Woodwind Quintet - Level 2 - SKU: A0.889424 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Christmas,Concert,Standards. 12 pages. Luis Anjos Teixeira #4604487. Published by Luis Anjos Teixeira (A0.889424). Johann Sebastian Bach wrote some song-like, lyrical pieces, often movements in larger compositions for instrumental ensembles, the so called â€žAirs. This piece, the Air of the second movement of the Suite No.3 in D major, BWV 1068 is one of the most impressive master works ever written in the history of the human being. The piece does not require virtuoso skills to perform and is appropriate for students or amateurs. Without any doubt very pleasant to listen when played by a dedicated and very well rehearsed ensemble, it has always a very powerful effect on the audience. It can be used in concerts and all sorts of spiritual or religious events. In this arrangement for woodwind Quintet the bass is shared by the fagote and the horn as two independent voices that perform â€žas one. For a matter of study and comparison the original cello part is included in this work. It could be eventually used if the ensemble decides to double the original bass line with both the fagot and the horn. I also could not resist not to interchange the role of the flute and the oboe on the â€žrepetition : I have shortened some of the notes and used various interpretation symbols, accents and nuances, they are mere suggestions for an interpretation and are total absent on the original score. The use of the dot over the notes is called â€žstaccato, it means in this case that the note is shortened to approximately half of its length. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Thanks to Claudia Eppelt for the cover design tips, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi, Carlinhos, Pontinha, Maria Joaninha, Schwarzenegger, Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all the Love All Your Love and Compassion. Love Forever. Luis Anjos Teixeira Disclaimer: Most serene Highness and noble performer of the Holy Musical Empire, gracious and dread Artist, the most joyous occasion of your name day may your highness celebrate it in divine grace and enjoy it in complete well-being felicity with the performance of this score. The grandiose musical purchase contest takes place In the month of august. The cheapest price for this score is 15 Dollars. It would be of the greatest advantage to do your Highnesses gracious musical purchase during the month of august thus that would bring me the possibility of winning this grandiose selling competition. I therefore await your Highnesses gracious musical purchase I hope for your favor and gracious Highness, most humble, Luis Anjos Teixeira The score was written on Finale and the sound file was produced with Garritan instruments.

$15.00 ≈ 13.81€

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