Sheet music for Alto Saxophone

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

4 parts1 page01:143 years ago5,086 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 pages03:142 years ago3,761 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).

"Peace by the River" for Alto Sax & Piano

2 parts6 pages05:056 years ago3,748 views
Alto Saxophone, Piano
I created the reflective and tranquil "Peace by the River" from the music I Quo Vis by Patrice Douriaux for Piano & Alto Saxophone. The melody of the piece uses a deliberate, but mild, dissonance against the harmony. This interpretation is meant to invoke visions of reflective solace at the edge of a peaceful river. The piece starts calm after a short piano introduction reinforcing the calm tranquility that exists at the river’s edge. The listener is carried into this carefree environment and allowed to ponder the large expanse of the world as well as the transient gift of peace that exists in this place. Inspiration follows as the listener is moved by this gift and expresses joy and praise and the will to spread the peace of Christ to others. Reflection soon follows as the listener is drawn to quiet mediation within and realizes in proud epiphany that like the word of our Lord, one small stone cast into a peaceful river spreads the gift of its message in all directions; even back to the source. The piece concludes with a joyful exclaim that the peace we feel can truly only be appreciated by sharing this peace with others.

The Trumpet Shall Sound (From Handel's "Messiah Oratorio" HWV 56, Part III, Scenes I and II)

14 parts51 pages05:472 years ago523 views
Voice, Trumpet(2), French Horn(2), Flute(2), Clarinet(2), Bassoon, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Tuba
All credit for writing "The Trumpet Shall Sound" goes to my friend, Mike Magatagan [GO CHECK HIS ACCOUNT OUT! musescore.com/mike_magatagan]. I arranged the pitch and the Intro [Behold, I Shew You A Mysery].
Video

"Entry of the Gladiators" (Thunder & Blazes) for Sax Quartet

4 parts6 pages03:072 years ago2,766 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 pages03:143 years ago2,393 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 pages06:162 years ago1,676 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).

"Zefiro Torna" (SV 251) for Saxophone Trio

3 parts4 pages04:303 years ago1,547 views
Alto Saxophone(2), Baritone Saxophone
Claudio Monteverdi (1567 - 1643) was born in Cremona, where he studied under Marc’Antonio Ingegneri, choirmaster of Cremona cathedral. He served at the Gonzaga court at Mantua from early1590 until 1612, and then as choirmaster of S Marco, Venice, from 1613 until his death in 1643. Monteverdi published two collections under the title Scherzi musicali, one in 1632 consisting mainly of solo songs with continuo, and the collection which dates from 1607. This was a period of both intense activity and great pressure for Monteverdi, the year which saw the production of his epoch-making opera Orfeo, but also one in which Monteverdi, underpaid by the court in Mantua and nursing an ailing wife (Claudia Monteverdi died on September 10, 1607), was experiencing great unhappiness. Two years prior to these events Monteverdi had issued another seminal work, his Fifth Book of Madrigals, a set which clearly established the composer as being in the forefront of radical moves that were guiding music toward the new Baroque style, the seconda prattica. In the preface to that book Monteverdi had mounted a spirited defense of his radicalism in the face of an attack by the conservative theoretician Giovanni Maria Artusi. The subject again taken up in the preface of the Scherzi musicali, which was written not by Monteverdi himself, but his brother Giulio Cesare. In this immensely important document Giulio clearly defines the differences between the old and new musical styles, which he terms the prima prattica and the seconda prattica, naming the representative composers of each. He goes on claim that the Scherzi musicali includes several works in modern French manner, which may be defined as the airy, dance-like pieces which characterize many of the works in the publication. It consists of 18 works scored for three voices and continuo, which according to the composer's preface are intended to be played by three viols and chittarone (a large lute), harpsichord or similar continuo. The character of the collection is immediately established in the opening song, "I bei legami," with its hemiola rhythms, a type of syncopation much employed by Monteverdi in his lighter pieces. Many of the songs of the Scherzi musicali inhabit the same pastoral world as the madrigals of Book Five; they include such popular songs as "Vaghi rai" and "Dolci miei sospiri." "Zefiro torna e di soavi accenti" (SV 251) is published in the collection Scherzi Musicali, and in the composer's Ninth Book of Madrigals (1632), most of the piece is in the form of a ciaccona or passacaglia, which uses a constantly recurring bass line. "Zephyr returns" is an English equivalent of the Italian phrase Zefiro torna. Specifically, Zephyr was the ancient Greek god of the west wind that is so characteristic of pleasant springtime weather. The verb torna means "does return, is returning, returns." The pronunciation is "TSEH-fee-roh TOHR-nah." The madrigal sets a sonnet by Ottavio Rinuccini, the poet who authored the librettos for the first two surviving operas, Peri's La Dafne and Euridice, as well as Monteverdi's lost opera, Arianna. The text concerns the west wind Zephyr that brings Spring and its attendant opportunities for romance, or at least dalliance. Here, as in many of his madrigals, Monteverdi's exceptionally fluid text-setting skillfully subverts the structure of the sonnet so that its poetic effusions seem spontaneously improvised rather than constructed according to strict formal standards. The catchy repeated figure of the ciaccona, the springy rhythms, and the graceful but florid vocal lines give the work an infectious exuberance. Although originally written for voice, I created this arrangement for Saxophone Trio (two Alto & one Bari Sax).

Aria: "Gold aus Ophir ist zu schlecht" (BWV 65 No 4) for Saxophone Quartet

4 parts5 pages04:523 years ago1,386 views
Alto Saxophone(2), Tenor Saxophone, Baritone Saxophone
Sie werden aus Saba alle kommen (They will all come forth out of Sheba), BWV 65, is a church cantata by Johann Sebastian Bach. He wrote the cantata to conclude his first set of cantatas for the Christmas season in Leipzig on the Feast of Epiphany. He had performed five cantatas, Christen, ätzet diesen Tag, BWV 63 (composed possibly in 1713) and the new works Darzu ist erschienen der Sohn Gottes, BWV 40, Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64, Singet dem Herrn ein neues Lied, BWV 190, and Mein liebster Jesus ist verloren, BWV 154. He begins with the final verse of the reading, Isaiah's prophecy "all they from Sheba shall come: they shall bring gold and incense". The poet juxtaposes the prediction by a chorale, stanza 4 of the old anonymous "Ein Kind geborn zu Bethlehem" (Puer natus in Bethlehem", "A babe is born in Bethlehem", 1543), which describes the arrival of the "Kön'ge aus Saba" (Kings from Sheba), related to the Gospel. The first recitative proclaims that the Gospel is the fulfillment of the prophecy and concludes that it is the Christian's duty to bring his heart as a gift to Jesus. This idea is the theme of the following aria. The second recitative equals the gifts Faith to the gold, Prayer to the incense, and Patience to the myrrh, which is again expanded in the aria. The cantata ends with stanza 10 of Paul Gerhardt's hymn "Ich hab in Gottes Herz und Sinn". Bach first performed the cantata for Epiphany on 6 January 1724. In his Christmas Oratorio of 1734, Bach dedicated Part VI, Herr, wenn die stolzen Feinde schnauben, to the topic and the occasion and first performed it on 6 January 1735. This, the first aria "Gold aus Ophir ist zu schlecht" (Gold from Ophir is too meager), is accompanied by the oboes da caccia, whose low register together with the bass voice conveys the humility expressed in the words. The cantata is structured in seven movements and is festively scored for tenor and bass soloists, a four-part choir, two horns, two recorders, two oboes da caccia, two violins, viola, and basso continuo. Bach employed a pair of horns before in his Christmas cantata Darzu ist erschienen der Sohn Gottes, BWV 40, and later in his cantata for Christmas 1724, Gelobet seist du, Jesu Christ, BWV 91, and in Part IV of his Christmas Oratorio. Source: Wikipedia (https://en.wikipedia.org/wiki/Sie_werden_aus_Saba_alle_kommen,_BWV_65). I created this arrangement for Saxophone Quartet (2 Alto Sax, Tenor Sax and Bari Sax).

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

4 parts2 pages023 years ago1,354 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 pages01:173 years ago1,241 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 ago1,233 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).

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

4 parts2 pages01:362 years ago604 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).