Sheet music for Soprano Saxophone

"Silent Night" (A Variation for Sax) for Saxophone Quartet
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"Silent Night" (A Variation for Sax) for Saxophone Quartet

4 parts1 page01:144 years ago8,069 views
Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone
Franz Xaver Gruber (25 November 1787 – 7 June 1863), was an Austrian primary school teacher and church organist in the village of Arnsdorf. At the same time he was organist and choirmaster at St Nicholas Church in the neighboring village of Oberndorf bei Salzburg and then in later years moved on to Hallein, Salzburg.

Together with Joseph Mohr, a Catholic priest who wrote the original German lyrics, Gruber composed the music for the Christmas carol Silent Night. On Christmas Eve of 1818, Mohr, an assistant pastor at St Nicholas, showed Gruber a six-stanza poem he had written in 1816. He asked Gruber to set the poem to music. The church organ had broken down so Gruber produced a melody with guitar arrangement for the poem. The two men sang "Stille Nacht" for the first time at Christmas Mass in St Nicholas Church while Mohr played guitar and the choir repeated the last two lines of each verse.

Although this carol was originally arranged by Miguel Astor for Chorus (SATB), I created this arrangement from my earlier work (http://musescore.com/mike_magatagan/scores/111310) for a friend and It is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Scotland the Brave" for Saxophone Quartet

4 parts3 pages03:143 years ago4,976 views
Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone
"Scotland the Brave" (Scottish Gaelic: "Alba an àigh" with àigh meaning joy, happiness, prosperity, luck, success - lots of good things, but not brave or bravery) is a Scottish patriotic song. It was one of several songs considered an unofficial national anthem of Scotland. Surprisingly, Scotland has no national anthem, although along with "Flower Of Scotland", the Gaelic Air "Alba An Aigh" rendered in English as "Scotland The Brave" is as good as. Written in 2/4 time, it is of surprisingly recent origin, and was published first around 1911 as "Scotland, The Brave!!!", and has been dated from around 1891-95, although the sentiment dates back to at least the 1820s. It was probably originally a flute solo, though the instrumental version is more usually played on the bagpipes.

The definitive lyrics were penned as recently as 1951. Glasgow man Cliff Hanley (1923-99) was an author, historian and broadcaster among his other talents; he wrote the new words for Robert Wilson, a performer who needed a song for the finale of his show at a Christmas Scottish review that was being performed at the Glasgow Empire Theatre.

"Scotland The Brave" is also known as "Brave Scotland", "My Bonnie Lass", My Bonnie Lassie" (with alternative lyrics) and as "Scotland Forever". "My Bonnie Lassie" was actually penned by two American songwriters Roy C. Bennett and Sid Tepper (who wrote songs for Elvis).

The instrumental version is also the authorised pipe band march of the British Columbia Dragoons of the Canadian Forces. In 2006, it was adopted as the regimental quick march of the Royal Regiment of Scotland.

In content, lyrically, it is similar to "Land Of My Fathers" and similar national anthems and patriotic songs, extolling the natural beauty of the country as well as the bravery of its warriors. This piece is hands-down, the most popular song for pipe bands to play in American parades.

Although this piece was originally written for Scottish Pipe bands, I created this arrangement for Saxophone Quartet (Soprano, Alto, Tenor and Bari Sax).
"Entry of the Gladiators" (Thunder & Blazes) for Sax Quartet
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"Entry of the Gladiators" (Thunder & Blazes) for Sax Quartet

4 parts6 pages03:073 years ago3,442 views
Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone
Julius Fučík (pronounced "Foo-chick") was a Czech composer who lived from 1872 -- 1916 and was a conductor of military bands. Today his marches are still played as patriotic music in the Czech Republic. However, his worldwide reputation rests on this one work: the Opus 68 march, the Entrance of the Gladiators (Vjezd gladiátorů), which is universally recognized, often under the title "Thunder and Blazes", as one of the most popular theme tunes for circus clowns.

"Entrance of the Gladiators" or "Entry of the Gladiators" was originally titled it "Grande Marche Chromatique," reflecting the use of chromatic scales throughout the piece, but changed the title based on his personal interest in the Roman Empire. The piece is a little longer than this but the rest is not so familiar to most people.

Although originally created for band, I created this arrangement for Saxophone Quartet (Soprano, Alto, Tenor & Baritone).

"Jesus, Comfort Me" (from Cantata 135) for Saxophone Quartet

4 parts7 pages03:144 years ago3,162 views
Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone
Ach Herr, mich armen Sünder (Ah Lord, poor sinner that I am), BWV 135, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the third Sunday after Trinity and first performed it on 25 June 1724. It is the fourth chorale cantata from his second annual cycle, of chorale cantatas, based on the hymn by Cyriakus Schneegass.

Bach composed the cantata in Leipzig for the Third Sunday after Trinity as the fourth cantata of his second annual cycle of chorale cantatas and first performed it on 25 June 1724, after Christ unser Herr zum Jordan kam, BWV 7, on St. John's Day.

The prescribed readings for the Sunday were from the First Epistle of Peter, "Cast thy burden upon the Lord" (1 Peter 5:6–11), and from the Gospel of Luke, the parable of the Lost Sheep and the parable of the Lost Coin (Luke 15:1–10). The cantata is based entirely on the chorale "Ach Herr, mich armen Sünder" (1597) by Cyriakus Schneegass, a paraphrase on Psalm 6 in six stanzas. The connection to the readings is rather marginal, the Lord's comforting (movement 3) and destruction of the enemies (5) refer to the epistle, the joy about a repenting sinner, the theme of the chorale, to the gospel. The unknown poet kept the first and last stanza unchanged. He paraphrased the other four stanzas to four movements, alternating recitatives and arias.


The opening chorus is a chorale fantasia as in the previous chorale cantatas. Bach had started the first one of his second cycle with the cantus firmus of the chorale tune in the soprano, in this fourth work the bass has the honour. According to Christoph Wolff, the first four cantatas of the cycle form a group, distinctively different in their chorale fantasias. After a French Overture (O Ewigkeit, du Donnerwort, BWV 20), a motet (Ach Gott, vom Himmel sieh darein, BWV 2) and an Italian concerto (Christ unser Herr zum Jordan kam, BWV 7), the movement is an "extraordinary filigree of vocal and instrumental counterpoint" of the chorale melody. John Eliot Gardiner observes: "Together they make a fascinating and contrasted portfolio of choral fantasia openings." All parts, even the instruments, take part in the polyphon setting of the tune. Bach used the melody, originally a love song, later for the first chorale of his Christmas Oratorio, "Wie soll ich dich empfangen", and several times in his St Matthew Passion, most prominently "O Haupt voll Blut und Wunden". All eight lines of the text are first treated instrumentally, then vocally. The instrumental anticipation is a trio without continuo of oboe I and II against the strings, which play in unison the cantus firmus. In stark contrast to this high texture, the four-part vocal setting is dominated by the cantus firmus in the bass, reinforced by the trombone and the continuo. The strings play colla parte with the other voices. On the words "daß ich mag ewig leben" (that I may live forever) the cantus firmus is broadened to three times as slow. It is concluded by an original line from the chorale, "Ah, Lord, why so long?". In the tenor aria, accompanied by the two oboes, the "collapse in death" is pictured by falling sevenths, "silent in death" by long silences. The alto recitative opens with an original line of the chorale, "I am weary of sobbing", expressed in a variation of the first line of the tune. The bass aria is a vigorous call, "Hence, all you evildoers". The strings play a forceful two-bar phrase, repeated twice at lower pitches, at which point it soars upwards and becomes increasingly dispersive in nature. ... In Bach's Obituary, written by Carl Philipp Emanuel Bach and Agricola and published in 1754 mention is made of his distinctive melodies which are described as "strange" and "like no others". This is a good example; scrupulously shaped and crafted, ranging over nearly three octaves and carried forward through jagged shapes whilst radiating an unprecedented vigour and all the time reflecting the imagery of the text. The cantata closes with a four-part chorale, the soprano enforced by the cornett.

Although originally scored for three vocal soloists (alto, tenor and bass), a four-part choir, cornett, trombone, two oboes, two violins, viola, and basso continuo, I created this arrangement for Saxophone Quartet (Soprano, Alto, Tenor & Baritone Sax) and It is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Ave Maria" for Saxophone Quartet

4 parts2 pages06:163 years ago2,168 views
Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone
The Ave Maria (Latin) (or Angelic Salutation or Hail Mary) is a traditional Catholic prayer asking for the intercession of the Virgin Mary, the mother of Jesus. The Hail Mary is used within the Catholic Church, and it forms the basis of the Rosary. The prayer is also used by some Anglicans and by many other groups within the Western Catholic tradition of Christianity. A somewhat different form of the prayer is used in the Eastern Orthodox and Oriental Orthodox churches and other groups of Eastern Christianity. Some Protestant denominations, such as Lutherans, also make use of a form of the prayer. Most of the text of the Hail Mary can be found within the Gospel of Luke.

This choral worh has been attributed to D. J. Benz (ca. 17th century) and although originally created for Chorus (SATB), I created this arrangement for Saxophone Quartet (Soprano, Alto, Tenor & Baritone Sax).

"Trumpet Tune & March" in C Major for Saxophone Quartet

4 parts2 pages023 years ago1,614 views
Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone
Jeremiah Clarke (c. 1674–1707) was an English baroque composer, organist and, pupil of John Blow at St Paul's Cathedral. He later became organist at the Chapel Royal. After his death, he was succeeded in that post by William Croft.

Clarke is best remembered for a popular keyboard piece: the Prince of Denmark's March, which is commonly called the Trumpet Voluntary, written about 1700. From c. 1878 until the 1940s the work was attributed to Henry Purcell, and was published as Trumpet Voluntary by Henry Purcell in William Sparkes's Short Pieces for the Organ, Book VII, No. 1 (London, Ashdown and Parry). This version came to the attention of Sir Henry J. Wood, who made two orchestral transcriptions of it, both of which were recorded. The recordings further cemented the erroneous notion that the original piece was by Purcell. Clarke's piece is a popular choice for wedding music, and has featured in royal weddings.

The famous Trumpet Tune in D (also incorrectly attributed to Purcell), was taken from the semi-opera The Island Princess which was a joint musical production of Clarke and Daniel Purcell (Henry Purcell's younger brother)—probably leading to the confusion.

Although originally written for Pipe Organ, I Arranged this piece for Saxophone Quartet (Soprano, Alto, Tenor and Bari Sax).

"Les Heures Mystiques" (Opus 29) for Saxophone Quartet

4 parts2 pages01:174 years ago1,441 views
Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone
Léon Boëllmann (1862 -- 1897) was a French composer of Alsatian origin, known for a small number of compositions for organ. His best-known composition is Suite gothique (1895), still very much a staple of the organ repertoire, especially its dramatic concluding Toccata.

During the sixteen years of his professional life, Boëllmann composed about 160 pieces in all genres. Faithful to the style of Franck and an admirer of Saint-Saëns, Boëllmann yet exhibits a turn-of-the-century Post-romantic esthetic, which especially in his organ works, demonstrates "remarkable sonorities." His best-known composition is Suite gothique (1895), now a staple of the organ repertoire, especially its concluding Toccata, a piece "of moderate difficulty but brilliant effect," with a dramatic minor theme and a rhythmic emphasis that made it popular even in Boëllmann's own day. Boëllmann also wrote motets and art songs, works for piano, a symphony, works for cello and orchestra and for organ and orchestra, a cello sonata (dedicated to Jules Delsart), and other chamber works.

Boëllmann wrote "Les heures mystiques" (Opp. 29/30) in 1896 as a work for communion for String Quartet however I adapted the first of these quartets for Saxophone Quartet (Soprano, Alto, Tenon & Baritone Saxophone).

Andante from the Concerto I in A Minor (BWV 1041 Mvt. 2) for Saxophone Quintet

5 parts6 pages06:103 years ago1,419 views
Soprano Saxophone, Alto Saxophone(2), Tenor Saxophone, Baritone Saxophone
The "Concerto I" in A minor, BWV 1041, was composed by Johann Sebastian Bach as a Violin Concerto. It is unknown exactly when the work was composed, but copies dated 1730 suggest it may have been composed later than the other two concertos for violin, perhaps during Bach's time as director of the Collegium Musicum in Leipzig.

The piece has three movements:

1. Allegro moderato
2. Andante — with an ostinato style theme
3. Allegro assai

The motifs of the theme of the Allegro moderato appear in changing combinations and are separated and intensified throughout the movement.

In the Andante Bach uses an insistent pattern in the bass part that is repeated constantly in the movement. He focuses the variation in the harmonic relations.
In the final movement Bach relies on bariolage figures to generate striking acoustic effects.

The piece is a baroque concerto which is in ritornello form. This means that there is a main section that comes back in fragments in both the solo and orchestral parts. This 'ritornello' can be found in the first movement up until bar 24.

Although this piece was originally written for String Orchestra, I arranged it for Saxophone Quintet (Soprano, 2 Alto, Tenor and Baritone Saxophones).

Sonata 1 in A Minor (BWV 1030) for Soprano Sax & Piano

2 parts24 pages17:082 years ago1,358 views
Soprano Saxophone, Piano
The original complete collection of Bach's works, the Bach-Gesellschaft edition, appeared in Leipzig in 46 volumes between 1851 and 1899. It was the first "complete works" edition to publish a composer's notation without deliberate editorial tampering, to include almost every composition, and to provide a critical apparatus, serving as a model for virtually every critical edition since that day. Vol. IX, with a preface dated April 1860 signed by the editor, Wilhelm Rust, contained three sonatas for flute and keyboard.

Although most of the flute sonatas by Johann Sebastian Bach pose questions of authenticity, the B minor sonata BWV 1030 is undoubtedly his own work. Of the eight existing sources of the sonata, there is a manuscript with his own signature, which leaves little room for doubt. However, there is also copy of a harpsichord part in the key of G minor which dates earlier than the signed manuscript. This raises the issue of chronology. Popular theory suggests that Bach composed most of his chamber works while he was director of Collegium Musicum (a group of musicians dedicated to the art of performance) in Leipzig from 1729-1737. Thus, it is most likely that the G minor version was composed in his first few years as director and transcribed it to B minor around 1736.

Of his flute sonatas, the B minor is one of two (the other being BWV 1032) in which the harpsichord part is fully composed. This differs from the past style of continuo, which left the keyboard player plenty of room for his/her own ornamentation. Given this, the harpsichordist acts as an equal partner to the solo flute and shares the melodic material.

The first movement, marked Andante, is the most distinctive. Its free ritornello (short recurring passages) form make for stimulating interplay between the flute and harpsichord. Another slow movement follows (Largo e dolce) and encompasses two beautifully simple themes, which serve as a release from the complexity of the first movement. The third movement (Presto--Allegro) is in two parts, beginning with a fugal presto that leads straight into a gigue-like section which is most notable for its witty syncopations and technical demands.

The B minor sonata is the greatest and most difficult of Bach's flute works. Its historical significance, technical demands and timeless beauty, bring it to the forefront of his compositions and takes the rightful place as a staple in the solo flute literature.

Although originally written for Soprano Recorder (Flute) and Harpsichord in B Minor, I created this arrangement in A Minor for Soprano Saxophone & Acoustic Piano at the request of a Doctoral candidate (DMA).

Aria: "Fünfzig Taler bares Geld" (BWV 212 No 12) for Sax Quartet

4 parts2 pages01:362 years ago808 views
Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone
Mer hahn en neue Oberkeet (We have a new governor), BWV 212,[a] is a secular cantata by Johann Sebastian Bach. It was entitled the "Cantate burlesque" (burlesque cantata) by Bach himself, but is now popularly known as the Peasant Cantata. It is the latest definitely dated Bach cantata.

This cantata's libretto was written by Christian Friedrich Henrici, known as Picander, and was written for performance on 30 August 1742. On that day the Erbherr, Lehnherr and Gerichtsherr Carl Heinrich von Dieskau, Saxon-Crown-Princely Kammerherr to the Rittergut Kleinzschocher near Leipzig, celebrated his thirty-sixth birthday with a huge fireworks display and, as was customary, took homage from the peasants on the same occasion. It is thought that Picander asked Bach to set his poetry to music.

The text describes how an unnamed farmer laughs with the farmer's wife Mieke about the tax collector's machinations while praising the economy of Dieskau's wife, ending by especially cheering on Dieskau. In places it uses the dialect of Upper Saxony ("Guschel" for mouth, "Dahlen" for love-games, "Ranzen" for belly and "Neu-Schock" for a 60 Groschen piece).
In accordance with the nature of the text, Bach created a relatively simple composition held with short sentences and usually simple accompaniment. He repeatedly drew on popular dance forms, folk and popular melodies (such as La Folia and the folk song "Mit dir und mir ins Federbett, mit dir und mir aufs Stroh", whose title translates as "With you and me in the spring bed, with you and me on the straw") and parts from his own historical pieces (Set 14 from BWV Anh. 11 and Theorem 20 from BWV 201 / 7).

The cantata is scored for two voices: the farmer (bass) and Mieke (soprano). The instrumentation includes a string trio of violin, viola and basso continuo, accompanied by a flute, horn and second violin respectively.

Source: Wikipedia (https://en.wikipedia.org/wiki/Mer_hahn_en_neue_Oberkeet,_BWV_212).

I created this Interpretation of the sixth Aria: "Fünfzig Taler bares Geld" (Choking fifty dollars ) for Saxophone Quartet (Soprano, Alto, Tenor & Baritone Saxophone).

J.S. Bach – Chorale «What God does is well done» for Sax Trio & Trumpet

4 parts3 pages01:46a year ago179 views
Soprano Saxophone, Trumpet, Tenor Saxophone, Baritone Saxophone
Sometimes the music immediately want to play.
Bach knows how to write such pieces. :-)
Thanks to Mike Magatagan and MuseScore 2.1, I can edit this magical music, making minimal simple changes to the score.
There is the page of Mike where I got the source:
https://musescore.com/mike_magatagan/scores/4869250

J.S.Bach – Chorale «Lord Jesus Christ, you're highest good» for Sax Duet & Bass guitar

3 parts3 pages02:29a year ago176 views
Soprano Saxophone, Tenor Saxophone, Bass
I am grateful to Mike Magatagan, who posted today such a beautiful chorale: https://musescore.com/mike_magatagan/scores/4864022
I immediately wanted to play that. Alas, I don't have exotic instruments, which were made by arrangement. Had to edit for myself.
Maybe even useful to someone?
The part of Soprano can be played Trumpet without problems.
The bass guitar part much easier to play 5-string bass.

J.S. Bach – Chorale «What God does is well done» for AIR Trio & Bass guitar

4 parts3 pages01:46a year ago267 views
Soprano Saxophone, Trumpet, Tenor Saxophone, Bass
There is the page of Mike where I got the source:
https://musescore.com/mike_magatagan/scores/4869250
In Russia, alas, no such instruments as English Horn or Bassoon. Even the oboe is very rare for home playing. So I need regularly alter Mike's arrangements to my favorite pipes.
But the baritone saxophone we don't often see at home, so the lower voice, I often replace the bass guitar.
Thanks to Mike Magatagan and MuseScore 2.1, I can edit this magical music, making minimal simple changes to the score.
The key of this score is original.

J.S.Bach – Chorale «Lord Jesus Christ, you're highest good» for Saxophones Trio

3 parts3 pages02:29a year ago124 views
Soprano Saxophone, Tenor Saxophone, Baritone Saxophone
I am grateful to Mike Magatagan, who posted today such a beautiful chorale: https://musescore.com/mike_magatagan/scores/4864022
I immediately wanted to play that. Alas, I don't have exotic instruments, which were made by arrangement. Had to edit for myself.
Maybe even useful to someone?
The part of Soprano can be played Trumpet without problems.

Handel – Prelude «Voi che mie fide ancelle» from "Giulio Cesare" for Sax & Strings Synth.

3 parts2 pages01:397 months ago116 views
Soprano Saxophone, Violin, Cello
This arrangement was made by Mike Magatagan. For Oboe and String Quartet:
http://musescore.com/mike_magatagan/scores/5150444

My modest role here was to change the Oboe to a Saxophone and replace the String Quartet with a Synthesizer. Well, and to prepare the score for convenient using (clavier in concert pitch; party for the soloist; rehearsal marks).

J.S. Bach – ''Dona nobis pacem'' №27 von der Hohen Messe – Sax Soprano & Strings Synth

2 parts3 pages03:056 months ago121 views
Soprano Saxophone, Cello
Mike Magatagan made the arrangement of the piece for choir and orchestra, making it possible to play with a small chamber ensemble: http://musescore.com/mike_magatagan/scores/5148341
My task was to modify this score so, that it could be played as a duet. We have more keyboardists than violinists and cellists...

As always, inside the file there are conveniently formatted parts for synthesizer (in concert pitch) and soloist.

The german words in the title of the piece mean:
"Give us a peace" No.27 from the High Mass.