Sheet music with 7 instruments

"Carol of the Bells" in G Minor for English Handbells and Choir

7 parts5 pages01:327 years ago12,753 views
Voice(4), Percussion(3)
"Carol of the Bells" is a choral miniature work composed by the Ukrainian Mykola Leontovych. Leontovych's composition, is characterised by the use of a four note motif as an ostinato figure throughout the work. This ostinato figure is an ancient pagan Ukrainian New Year's (originally celebrated in April) magical chant known in Ukrainian as "Shchedryk" [the Generous One]. I developed this arrangement of the "Carol of the Bells" to accentuates it's original composition using modern 5-Octave English Handbells, Handchimes and full choir (SATB).
Piccolo Concerto (Opus 44, No. 11, RV 443) for Piccolo & Strings
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Piccolo Concerto (Opus 44, No. 11, RV 443) for Piccolo & Strings

7 parts33 pages10:186 years ago11,787 views
Piccolo, Strings(5), Harpsichord
Antonio Vivaldi (1678-1741) started playing the violin in his early years. He started studying to become a priest when he was 15 and was ordained in 1703 at the age of 25. In September 1703 Vivaldi became a violin teacher at an orphanage where he started writing concertos and sacred vocal music for the oprhans. Later on he became responsible for all the musical activity of the institution. Around 1717 Vivaldi was offered a new position as Maestro di Cappella (in charge of music in a chapel) of the governor of Mantua. During this period Vivaldi wrote his famous four violin concertos the Four seasons.

Antonio Vivaldi's concertos cut a revolutionary swath through the more fustian rituals of high Baroque music in much the way that minimalism gutted academic serialism 250 years later. They standardized the fast-slow-fast movement scheme that has survived as the classic concerto pattern, and developed the ritornello form (in which a refrain for the ensemble alternates with free episodes for the soloist), using it as a vehicle for thematic integration and elaboration. Vivaldi's 500-plus concertos were athletic entertainments that swept continental Europe, influencing not only younger composers, but causing a wave of stylistic conversion in older ones.

Vivaldi wrote this "Concerto per Flautino" sometime between 1728 and 1729 and although there is not a reliable evidence that the frontispiece information "Concerto per Flautino" means the sopranino recorder (in 'F') as a soloist. The Italian term flautino means simply a "small flute". There is however, a written instruction "Gl'istromti trasportati alla 4a" ("The instruments transposed a fourth"), witch corroborate which the conjecture that this concert was written for a soprano recorder (in 'C'), the standard transposition for recorder in 18th century, where the recorder player needs to read the recorder part like playing with an alto recorder in 'F'.

This arrangement was created for solo Piccolo and String Ensemble (Violins, Viola, Cello & String Bass).
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The underlying hyperlinks for the automatically-generated names (e.g., @Mike Magatagan") in posted comments/replies, contain invalid hyperlinks.For example: on a reply to an "Improving MuseScore.com" comment, the user name printed at the beginning of the comment contains an invalid reference (e.g., https://musescore.com/user/Mike%20Magatagan instead of the actual https://musescore.com/mike_magatagan )
This concerns one specific score by @Mike Magatagan namely the score https://musescore.com/mike_magatagan/scores/3004231If you click "Download" and choose "PDF including Parts"  the returned document is not a PDF but a "Not Found" error in XML format such as:  <Error><Code>NoSuchKey</Code><Message>The specified key does not exist.</Message><Key>3004231/8628087/18f138fc27/general-parts/score-parts.pdf</Key><RequestId>7C02B5365F83A247</RequestId><HostId>++UrE4WzPLQL6n4nqY64Q5aoi88wzvJjJqfSUqDiw2DSzJYIpfHzp0IE6RMQiDFkoGyv5AujhOA=</HostId></Error>All other export formats work fine.As a test I've downloaded that score in mscz format, opened it up with musescore 2.3.2 and used "Save online" to save it privately into my account (private url https://musescore.com/jeetee/scores/5304581 ). From there I can download the PDF with parts without issues.Mike already tried to "update" his score by resaving the score to his account; we were hoping this would force the musescore server to regenerate this PDF. Alas this seems to not work.Can someone on your end ( @Ximich or @abruhanov probably) debug this and/or force the server to generate that file?Thanks!

Corelli Concerto Grosso op. 6 n. 8

7 parts24 pages13:563 years ago3,856 views
Violin(2), Cello, Strings(4)
The well known "Fatto per la notte di Natale" (Christmas Concerto) by Arcangelo Corelli.
I think this is the original version though I've seen another "original" with basso continuo (harpsichord).
1st Mov. - Vivace, Grave
2nd Mov. - Allegro
3rd Mov. - Adagio, Allegro, Adagio
4th Mov. - Vivace
5th Mov. - Allegro
6th Mov. - Pastorale ad libitum (Largo)
Though I've inputted notes mostly from a version on paper, I also had the benefit of using MuseScore version from others, namely the excellent one by Mike Magatagan.

"Ring, Christmas Bells" for Handbells, Handchimes & Choir (SATB)

7 parts4 pages01:324 years ago4,614 views
Voice(4), Piano(3)
"Carol of the Bells" is a choral miniature work composed by the Ukrainian Mykola Leontovych. Leontovych's composition, is characterised by the use of a four note motif as an ostinato figure throughout the work. This ostinato figure is an ancient pagan Ukrainian New Year's (originally celebrated in April) magical chant known in Ukrainian as "Shchedryk" [the Generous One]. I created this arrangement at the request of my friend Genevieve Kopping for Chorus (SATB), Handchimes & English Handbells using the non-secular lyrics by Minna Louise Hohman (1947). This arrangement of the "Carol of the Bells" uses modern 5-Octave English Handbells, Handchimes and full choir (SATB) and is best played using the "HandBells.sf2" Soundfont by FMJ Software (http://www.fmjsoft.com/siframe.html).

"Danse Macabre" (Opus 40) for Harp & Strings

7 parts30 pages07:303 years ago3,868 views
Violin(3), Viola, Cello, Contrabass, Harp
The "Danse Macabre" (Opus 40) was written as a tone poem for orchestra in 1874 by French composer Camille Saint-Saëns. It started out in 1872 as an art song for voice and piano with a French text by the poet Henri Cazalis, which is based in an old French superstition. In 1874, the composer expanded and reworked the piece into a tone poem, replacing the vocal line with a solo violin. Normally heard as a symphonic performance, this piece is unusual as an arrangement for Harp and Strings however, I created this arrangement to emphasize macabre elements and uniquely dynamic range of the Concert (Pedal) Harp. I took liberal license in my interpretation of the original score, and as such, this arrangement is uniquely my "vision" of how this piece sounds to me.

According to the ancient superstition, "Death" appears at midnight every year on Halloween. Death has the power to call forth the dead from their graves to dance for him while he plays his fiddle (represented by strings on the Swell with its "E-string" tuned to an "E-flat" in an example of scordatura tuning). His skeletons dance for him until the first break of dawn, when they must return to their graves until the next year.

The intrepretation in Measure 25+ is of a solo violin playing the tritone (or "Devil's interval") consisting of an A and an E-flat—in an example of scordatura tuning, the violinist's E string has actually been tuned down to an E-flat to create the dissonant tritone. Starting at Measure 173, is a melodic quote of the "Dies irae", a Gregorian chant from the Requiem Mass that is melodically related to the work's second theme. The Dies irae is presented in a major key, which is unusual. The abrupt break in the texture at measure 456 represents the dawn breaking (a cockerel's crow, played on the melody) and the skeletons returning to their graves.

Source: Wikipedia (https://en.wikipedia.org/wiki/Danse_Macabre) and other sources.

I created this arrangement from the orchestral work for Concert (Pedal) Harp & Strings (Violins, Violas, Cellos & Basses).

"Ave Maria" based on a prelude by J.S. Bach for English Handbells, Piano & Choir (SATB)

7 parts18 pages02:197 years ago2,712 views
Voice(4), Percussion(2), Piano
Ave Maria based on a prelude by J.S. Bach written by French Romantic composer Charles Gounod in 1859 as the "Consideration on Bach's prelude". His Ave Maria consists of a melody superimposed over the Prelude No. 1 in C major, BWV 846, from Book I of The Well-Tempered Clavier, written by J.S. Bach some 137 years earlier. I transcribed his original piece for Choir (SATB) and 5-Octave English Handbells (with optional silver bell). I found this to be a hauntingly interesting blend of old and new and inspired by my wife, utilized the English Handbells in this piece to accentuate transitions between melody and dissonance; providing musical interest with their overtones to provide suspense and melodic resolution. This piece was best played using the "HandBells.sf2" SoundFont by FMJ Software (http://www.fmjsoft.com/siframe.html).

"Ding Dong, Merrily on High" for Small Orchestra

7 parts6 pages02:554 years ago2,627 views
Harp, Percussion(2), Strings(4)
"Ding Dong Merrily on High" is a Christmas carol. The tune first appeared as a secular dance tune known under the title "Branle de l'Official" in Orchésographie, a dance book written by Jehan Tabourot (1519–1593). The lyrics are from English composer George Ratcliffe Woodward (1848–1934), and the carol was first published in 1924 in his The Cambridge Carol-Book: Being Fifty-two Songs for Christmas, Easter, And Other Seasons. Woodward took an interest in church bell ringing, which no doubt aided him in writing it. Woodward was the author of several carol books, including Songs of Syon and The Cowley Carol Book. The macaronic style is characteristic of Woodward’s delight in archaic poetry. Charles Wood harmonised the tune when it was published with Woodward's text in The Cambridge Carol Book. More recently, Sir David Willcocks made an arrangement for the second book of Carols for Choirs.

The song is particularly noted for the Latin refrain: "Gloria, Hosanna in excelsis!" (Glory! Hosanna in the highest!) where the sung vowel sound "o" of "Gloria" is fluidly sustained through a lengthy rising and falling melismatic melodic sequence.


I created this unusual arrangement to highlight the sounds traditionally associated with Christmas for the Concert (Pedal) Harp, Tubular Bells, Marimba & Strings (2 Violins, Viola & Cello).

"The Heavens Are Telling" (H.21/2 Part 1 No. 13) for Woodwind Septet

7 parts8 pages03:346 years ago2,507 views
Flute, Oboe, English Horn, Clarinet(2), French Horn, Bassoon
The Creation (German: Die Schöpfung) is an oratorio written between 1796 and 1798 by Joseph Haydn (H. 21/2), and considered by many to be his masterpiece. The oratorio depicts and celebrates the creation of the world as described in the biblical Book of Genesis and in Paradise Lost. It is scored for soprano, tenor and bass soloists, chorus and a symphonic orchestra, and is structured in three parts.

No. 13. Die Himmel erzählen die Ehre Gottes (The heavens are telling the glory of God)

The text is based on Psalm 19:1–3, which had been set by Bach as the opening chorus of his cantata Die Himmel erzählen die Ehre Gottes, BWV 76. Haydn's century, following on the discoveries of Newton, had the view that an orderly universe—particularly the mathematically-governed motion of the heavenly bodies—attests to divine wisdom. Haydn, a naturally curious man, may have had an amateur interest in astronomy, as while in England he took the trouble to visit William Herschel, ex-composer and discoverer of Uranus, in his observatory in Slough.

"Die Himmel erzählen" is not in the home key of Part I, C minor, but is instead in C major, showing the triumph of light over dark. It begins with alternation between celebratory choral passages and more meditative sequences from the three vocal soloists, followed by a choral fugue on the words "Und seiner Hände Werk zeigt an das Firmament", then a final homophonic section. ("The wonder of his works displays the firmament" is the English text here, with word-order calqued from the German, but somewhat awkward compared to the Authorized Version's "And the firmament sheweth the handywork of God".) The unusual intensity of the ending may be the result of Haydn's piling of coda upon coda, each occurring at a point where the music seems about to end.

Although this piece was originally written for Opera, I arranged it for Woodwind Septet (Flute, Oboe, English Horn, Bb Clarinet, French Horn, Bass Clarinet & Bassoon). This piece is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Ubi Caritas et Amor" for Woodwind Ensemble

7 parts3 pages01:336 years ago2,485 views
Flute, Oboe, Clarinet, English Horn, French Horn, Bassoon(2)
Maurice Duruflé (1902 – 1986) was a French composer, organist, and pedagogue.

Duruflé was born in Louviers, Eure. In 1912, he became chorister at the Rouen Cathedral Choir School, where he studied piano and organ with Jules Haelling. At age 17, upon moving to Paris, he took private organ lessons with Charles Tournemire, whom he assisted at Basilique Ste-Clotilde, Paris until 1927. In 1920 Duruflé entered the Conservatoire de Paris, eventually graduating with first prizes in organ, harmony, piano accompaniment, and composition. His harmony professor was Jean Gallon.

Ubi caritas is a hymn of the Western Church, long used as one of the antiphons for the washing of feet on Maundy Thursday. The Gregorian melody was composed sometime between the fourth and tenth centuries, though some scholars believe the text dates from early Christian gatherings before the formalization of the Mass. It is usually sung at Eucharistic Adoration and Benediction of the Blessed Sacrament and on Holy Thursday evening at the Mass of the Lord's Supper. The current Roman Catholic Missal (1970, 3rd typical edition 2000) reassigned it from the foot-washing mandatum to the offertory procession at the Holy Thursday Mass of the Lord's Supper, and it also is found in current Anglican and Lutheran hymnals.

Although originally created for chorus, I created this arrangement for a Woodwind Ensemble (Flute, Oboe, Clarinet, English Horn, French Horn, Bassoon and Contrabassoon) to highlight the pure power and rich bass of this piece.

"Pastorale" from the 'Christmas Concerto' (Opus 6 No. 8) for Wind Ensemble

7 parts6 pages04:015 years ago2,362 views
Arcangelo Corelli (17 February 1653 – 8 January 1713) was an Italian violinist and composer of the Baroque era.

Concerto grosso in G minor, Op. 6, No. 8, by Arcangelo Corelli, known commonly as his Christmas Concerto, was commissioned by Cardinal Pietro Ottoboni and published posthumously in 1714 as part of his Twelve concerti grossi, Op. 6. The concerto bears the inscription Fatto per la notte di Natale ("Made for the night of Christmas").

It was composed around 1690, since there is a record of Corelli having that year performed a Christmas concerto for the enjoyment of his then-new patron. The concerto is scored for an ensemble consisting of two concertino violins and cello, ripieno strings and continuo. The work is structured as a concerto da chiesa, in this case expanded from a typical four movement structure to six.

Although originally written for Orchestra, I created this arrangement for Wind Ensemble (Flutes (2), Oboe, Bb Clarinet, French Horn, Bass Clarinet & Bassoon) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Funeral March" from Piano Sonata No.2 (Op. 35 Mvt. 3) for String Ensemble

7 parts9 pages07:172 years ago1,348 views
Violin(2), Viola(2), Cello(2), Contrabass
Frédéric Chopin's Piano Sonata No. 2 in B♭ minor, Op. 35, popularly known as The Funeral March, was completed in 1839 at Nohant, near Châteauroux in France. However, the third movement, whence comes the sonata's common nickname, had been composed as early as 1837.

The sonata comprises four movements: (1) Grave – Doppio movimento (in B♭ minor and in modified sonata form with the first subject absent in the recapitulation, ending in B♭ major), (2) Scherzo (in E♭ minor and in ternary form, middle section and ending in G♭ major), (3) Marche funèbre: Lento (in B♭ minor and in ternary form) & (4) Finale: Presto (in B♭ minor)

This, the third movement, begins and ends with the celebrated funeral march in B♭ minor which gives the sonata its nickname, but has a calm interlude in D♭ major.

No one knows for sure exactly what inspired Chopin to write the march. But Kallberg says there's evidence that he associated it with the Polish uprising of the 1830s. Chopin, who was born in Poland, sympathized with his countrymen in their revolt against the Russians. Though Chopin was living in exile elsewhere in Europe, he feared for his family and friends in the face of the Russians' violent response. "His colleagues said that he often played in salons, and the only way to get him to stop playing was to get him to play the March," Kallberg says. "He was so caught up in the emotions of it." Chopin's march has been played at the funerals of heads of state, including those of John F. Kennedy and, ironically, Russian leaders Brezhnev and Stalin. But the very first time it was performed at a funeral may have been the most important: Chopin's own.

Source NPR (http://www.npr.org/templates/story/story.php?storyId=124039949).

Although composed for Solo Piano, I created this Interpretation for String Ensemble featuring a solo Viola (2 Violins, 2 Violas, 2 Cellos & Bass).

Chorale: "Nun danket alle Gott" (BWV 79 No 3) for Flute, Oboe & Strings

7 parts6 pages03:553 years ago1,102 views
Flute, Oboe, Violin(2), Viola, Cello, Contrabass
Gott der Herr ist Sonn und Schild (God the Lord is sun and shield), BWV 79, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig in 1725 for Reformation Day and first performed it on 31 October 1725.

Bach composed the cantata for the Reformation Day. The prescribed readings for the feast day were from the Second Epistle to the Thessalonians, "be steadfast against adversaries" (2 Thessalonians 2:3–8), and from the Book of Revelation, fear God and honour him (Revelation 14:6–8). An unknown poet was not concerned about the readings, but did justice to the festive occasion, beginning with a quotation from Psalm 84 (Psalms 84:11), and including the first stanza from Martin Rinckart's hymn "Nun danket alle Gott" and as the closing chorale the final stanza of Ludwig Helmbold's hymn "Nun laßt uns Gott dem Herren".

Bach first performed the cantata on 31 October 1725. He performed it again, probably in 1730, when he re-orchestrated it, doubling the oboes by flutes and assigning a flute as the obbligato instrument in the alto aria. He used the music of the opening chorus and the duet again in his Missa in G major, BWV 236, and the music of the alto aria in his Missa in A major, BWV 234.

John Eliot Gardiner, who conducted the cantatas for Reformation at the Schlosskirche, Wittenberg where the Reformation began, describes this, the first chorale "Nun danket alle Gott" (Now let everyone thank God), that Bach uses the first theme of the opening again, simultaneously with the chorale tune. Helmuth Rilling notes the unity of topic, praise and thanks to God, for the first three movements. Gardiner assumes that the sermon may have followed the chorale.

Source: Wikipedia (http://en.wikipedia.org/wiki/Gott_der_Herr_ist_Sonn_und_Schild,_BWV_79).

Although originally scored for four vocal soloists—soprano, alto, tenor and bass, two horns, timpani and basso continuo, I created this arrangement for Flute, Oboe & Strings (2 Violins, Viola, Cello & Bass).

"Ave Maria" for Woodwind Septet

7 parts3 pages02:086 years ago1,081 views
Josef Anton Bruckner was born on September 4, 1824 in the upper Austrian town of Ansfelden. His father was a schoolteacher and church organist, and Bruckner's initial studies followed similar lines. When Bruckner was 13, his father died, and he enrolled in the church school at St. Florian (some ten miles from Linz) as a chorister. There, he studied organ, piano, and music theory.

At the age of 16, he entered a teacher-training school in Linz, and began work as a schoolteacher at St. Florian in 1845. He became the cathedral organist in 1848. At St. Florian he began to compose sacred music. In 1855, he went to Vienna to formally study harmony and counterpoint at the Vienna Conservatory under Professor Simon Sechter. The next year, he became the cathedral organist in Linz, and began studies in orchestration with Otto Kitzler, a cellist who introduced Bruckner to Wagner's operas.

On his own, Bruckner assiduously studied the music of Renaissance Italian polyphonic masters such as Palestrina and German Baroque composers, especially J.S. Bach. He completed his studies with Sechter in 1861, and began to make a name for himself as a composer and an improviser at the organ. He moved to Vienna in 1868 to take appointments as the Emperor's court organist and to take over Sechter's professorship in harmony and counterpoint at the Vienna Conservatory.

Bruckner spent the 1870's and 1880's giving masterful organ recitals and composing symphonies. Due to his failing health, he resigned from the Conservatory in 1891, and devoted his last years to work on his ninth symphony. This symphony, sadly, remained incomplete at the time of his death in Vienna on October 11, 1896.

The Ave Maria is a supplication to the Virgin Mary, based on text from the annunciation. Bruckner wrote this seven-part setting in 1861, making it the first major composition that he completed after five years of arduous study with Sechter. The first segment of Bruckner's setting contrasts the three-part women's choir and the four-part men's choir, which unite in the proclamation of the name of Jesus. The second segment is for all seven parts, with a particularly effective diminuendo as the choir asks for intervention for us sinners.

Although this piece was originally written for Voices (SAATTBB), I arranged it for Woodwind Septet (Flute, Oboe, English Horn, Bb Clarinet, French Horn, Bass Clarinet & Bassoon). This piece is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Domine, ego Credidi" (Opus 12 No. 4) for Wind Ensemble

7 parts2 pages03:035 years ago1,005 views
Piccolo, Flute, Oboe, Clarinet(2), French Horn, Bassoon
Camille Saint-Saëns was something of an anomaly among French composers of the nineteenth century in that he wrote in virtually all genres, including opera, symphonies, concertos, songs, sacred and secular choral music, solo piano, and chamber music. He was generally not a pioneer, though he did help to revive some earlier and largely forgotten dance forms, like the bourée and gavotte. He was a conservative who wrote many popular scores scattered throughout the various genres: the Piano Concerto No. 2, Symphony No. 3 ("Organ"), the symphonic poem Danse macabre, the opera Samson et Dalila, and probably his most widely performed work, The Carnival of The Animals. While he remained a composer closely tied to tradition and traditional forms in his later years, he did develop a more arid style, less colorful and, in the end, less appealing. He was also a poet and playwright of some distinction.

Saint-Saëns' Oratorio de Noël is a solid composition of an extremely appealing work. Scored for five soloists, chorus, strings, harp, and organ, the oratorio lies within the capabilities of good church and community choirs, and could easily find a place in the repertoires of groups looking for an alternative to Messiah to celebrate the Christmas season. It's warmly, but not gushily Romantic, with gratifying vocal and choral writing, and both harmonic and contrapuntal richness and variety. Much of it resembles what Mendelssohn might have sounded like had he lived long enough to adopt a late-Romantic idiom. Several of the movements are strongly memorable, particularly the Prelude and Consurge, Filia Sion (with their nods to Bach's Weinachtsoratorium), the duet, Benedictus, and the trio Tecum principium. One of the standouts of this performance is the organ of Hans-Joachim Bartsch, whose sensitive playing and colorful choice of registration is especially striking.

Although originally written for Chorus (SATB) and Orchestra, I created this arrangement of the "Domine, ego Credidi" from Oratorio de Noël (Opus 12 No. 4) for Wind Ensemble (Piccolo, Flute, Oboe, Bb Clarinet, Bass Clarinet, French Horn & Bassoon).

Aria: "Gloria Patri et Filio et Spiritui Sancto" (BWV 191 No 2) for Woodwind Trio & Strings

7 parts9 pages08:024 years ago963 views
Flute, Oboe, English Horn, Strings(4)
Gloria in excelsis Deo (Glory to God in the Highest), BWV 191, is a church cantata written by the German Baroque composer Johann Sebastian Bach, and the only one of his church cantatas set to a Latin text. He composed the Christmas cantata in Leipzig probably in 1745 to celebrate the end of the Second Silesian War on Christmas Day. The composition's three movements all derive from the Gloria of an earlier Missa written by Bach in 1733, which the composer would later use as the Gloria of his Mass in B minor.

Gloria in excelsis Deo was written in Leipzig for Christmas Day, as indicated by the heading on the manuscript in Bach's own handwriting, "J.J. Festo Nativit: Xsti." (Jesu Juva Festo Nativitatis Christi -- Celebration for the birth of Christ), to be sung around the sermon. Recent archival and manuscript evidence suggest the cantata was first performed not in 1743, but in 1745 at a special Christmas Day service to celebrate the Peace of Dresden, which brought to an end the hardships imposed on the region by the Second Silesian War.

Its only link to Christmas is the opening chorus on Luke (Luke 2:14), to be performed before the sermon. The other two movements after the sermon (marked "post orationem") divide the general words of the Doxology in a duet Gloria Patri et Filio et Spiritui sancto (corresponding to the Domine Deus, the central piece of the Gloria of the Mass in B minor) and a final chorus Sicut erat in principio (corresponding to Cum sancto spiritu of the Gloria). The final movement may contain ripieno markings (to accompany the chorus) similar to the ripieni found in Unser Mund sei voll Lachens, BWV 110, which was also a nativity cantata.

Unlike Bach's other church cantatas, the words are not in German, taken from the bible, a chorale or contemporary poetry, but in Latin, taken from the Gloria and the Doxology. This late work is the only Latin cantata among around 200 surviving sacred cantatas in German. It is based on an earlier composition, the Missa in B minor (Kyrie and Gloria) which Bach had composed in 1733 and that would, in 1748, become part of his monumental Mass in B minor. The first movement (Gloria) is an almost identical copy of the earlier work, while the second and third movements are close parodies. Parts, for instance, of the fugal section of Sicut erat in principio, taken from the Cum sancto spiritu of the 1733 setting, are moved from a purely vocal to an instrumentally accompanied setting. The modifications Bach made to the last two movements of BWV 191, however, were not carried over into the final manuscript compilation of the Mass in B minor, leaving it a matter of speculation whether or not these constitute "improvements" to Bach's original score.

The cantata bears the heading ::J.J. Festo Nativit: Xsti. Gloria in excelsis Deo. à 5 Voci. 3 Trombe Tymp. 2 Trav 2 Hautb. 2 Violini Viola e Cont. Di J.S.B. in Bach's own handwriting. The cantata is festively scored for soprano and tenor soloists and an unusual five-part choir (with a dual soprano part), three trumpets, timpani, two flauto traverso, two oboes, two violins, viola, and basso continuo. Its only link to Christmas is the opening chorus on Luke (Luke 2:14), to be performed before the sermon. The other two movements after the sermon (marked "post orationem") divide the general words of the Doxology in a duet Gloria Patri et Filio et Spiritui sancto (corresponding to the Domine Deus, the central piece of the Gloria of the Mass in B minor) and a final chorus Sicut erat in principio (corresponding to Mass in B minor structure#Cum sancto spiritu of the Gloria). The final movement may contain ripieno markings (to accompany the chorus) similar to the ripieni found in Unser Mund sei voll Lachens, BWV 110, which was also a nativity cantata.

Source: Wikipedia (https://en.wikipedia.org/wiki/Gloria_in_excelsis_Deo,_BWV_191).

I created this arrangement of the Duetto Aria: "Gloria Patri et Filio et Spiritui sancto" (Glory to the Father and the Son and the Holy Spirit) for Woodwind Trio (Flute, Oboe & English Horn) & Strings (2 Violins, Viola & Cello).

"Gema" (The Gem) for Steel Orchestra

7 parts7 pages02:264 years ago955 views
A Bolero is a genre of slow-tempo Latin music and its associated dance. The bolero is a 3/4 dance that originated in Spain in the late 18th century, a combination of the contradanza and the sevillana. Dancer Sebastiano Carezo is credited with inventing the dance in 1780. It is danced by either a soloist or a couple. It is in a moderately slow tempo and is performed to music which is sung and accompanied by castanets and guitars with lyrics of five to seven syllables in each of four lines per verse. It is in triple time and usually has a triplet on the second beat of each bar.

"Gema" (Gem) is a Spanish Bolero popularized in the mid 1950's by the Guitar and vocal group "Los Dandy's". Although originally written for Voice and Guitars (3), I created this arrangement for my friend and Pastor Julian J. Champion of the West Point School of Music located in Chicago IL. It has a single purpose for making music accessable to inner-city and disadvantaged youth. They are a struggling organization with a wonderful purpose. This arrangement is created for Steel Orchestra (Lead Pan, Double Lead (2), Alto Pan, Cello Pan (2) & Bass Pan) Steel Drums and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Tantum Ergo" (Opus 55) for Harp & Woodwind Sextet

7 parts8 pages03:036 years ago938 views
Tantum ergo are the opening words of the last two verses of Pange Lingua, a Mediaeval Latin hymn written by St Thomas Aquinas. These last two verses are sung during veneration and Benediction of the Blessed Sacrament in the Roman Catholic Church and other churches that practice this devotion. It is usually sung, though solemn recitation is sometimes done, and permitted.

Gabriel Fauré once defended his Requiem (1887 - 99), often accused of being more like a sentimental lullaby than a mass for the dead, by saying that the music any composer writes for religious purposes reflects that composer's own emotions and spirituality. Accordingly, Fauré's own Requiem may be said to express the composer's belief that death was a deliverance of the soul to everlasting bliss. Fauré's ca. 1891 setting of Tantum ergo, Op. 55, shows something of the same sensibility via lush harmonies, persistent harp arpeggios, and quiet, largely scalar vocal lines for both the soloist and choir. It is one of the composer's simplest works; the vocal parts are highly repetitive and unfold within a generally narrow range of pitch and dynamics, while the instrumental parts are similarly uncomplicated. Throughout most of the piece, the soloist and chorus alternate statements of the main theme; overall, the atmosphere is one of quiet tranquillity.

Although originally written for Solo Reed, Chorus (SATBB) Keyboard & Organ, I created this arrangement for Harp & Woodwind Sextet (Flute, Oboe, Clarinet, English Horn, French Horn & Bassoon) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Miserere" (No. 1) for Woodwinds, Strings & Piano

7 parts6 pages05:075 years ago897 views
Johann Caspar Aiblinger (1779 -- 1867) was a German composer. He was born in Wasserburg am Inn, Bavaria. In his eleventh year he commenced his studies at Tegernsee Abbey, where he was instructed in piano and organ-playing. Four years later he entered the gymnasium at Munich, where he studied under Professor Schlett, his countryman.

In 1800 he began his studies at the University of Landshut. Inwardly drawn to the Catholic Church, he completed his philosophy and began theology, but the secularization of many religious orders in Bavaria prevented his entrance into a cloister. He now devoted himself solely to music. Led by the then prevailing idea that without a visit to Italy no musical education is complete, he turned his footsteps southward.

After a stay of eight years at Vicenza, where he fell under the influence of his countryman Johann Simon Mayr, Aiblinger (1811) went to Venice and there met Meyerbeer, who procured for him an appointment at the Conservatory. His failure to establish a school for classical music led him to Milan to assume the direction of the local ballet. On his return to Bavaria, King Maximilian I Joseph of Bavaria invited him to Munich to direct the Italian opera. King Ludwig I of Bavaria appointed him director of the royal orchestra, and sent him to Italy to collect old Italian masterpieces. On his return be became the organist of the church of All Saints for which he wrote many valuable compositions.

Between 1820 and 1830 he tried operatic composition, but was unsuccessful. A crusade against Italian music, which led to the revival of Christoph Willibald Gluck's Iphigenia in Tauris, followed. Then he took up church music, studying the old masters and procuring performances of their works. He also wrote much church music. His numerous compositions comprise masses and requiems, offertories and graduals, psalms, litanies, and German hymns, many of which have been published at Augsburg, Munich, Regensburg, and Mainz.

The offertory (offering), in the Roman Catholic Mass and in derived liturgical forms, is the preparation of bread and wine on the altar and their formal offering to God. It takes place after the gospel and the creed and before the preface. A short psalm verse from Scriptures is appointed to be said or sung at the beginning; it varies from day to day. This is called the offertory verse. From ancient times it has been customary to collect the alms of the worshipers about the time of the offertory, hence the term has been transferred to the collection taken up in services in Protestant churches and to the music played or sung during the collection. The choice of this selection is usually left to the musicians of the church, and in many Protestant churches the offertory is the choir's principal musical selection in the service.

Psalm 51 (Greek numbering: Psalm 50), traditionally referred to as the Miserere, its Latin incipit, is one of the Penitential Psalms. It begins: Have mercy on me, O God. The psalm's opening words in Latin, Miserere mei, Deus, have led to its being called the Miserere Mei or even just Miserere. It is often known by this name in musical settings.

Although originally written for Voice (SATT), Strings and Organ, I created this arrangement for Woodwinds (Flute & Oboe), Strings (2 Violins, Viola & Cello) and Acoustic Piano and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Canzon VI á 7" for Brass Ensemble

7 parts9 pages05:236 years ago896 views
Giovanni Gabrieli was born in Venice in or about 1557. He studied With his uncle, Andrea Gabrieli, who was considered to be a master of the Venetian school. More than any of the Venetians who had preceded him, Giovanni Gabrieli devised an instrumental style as opposed to a vocal one. He had the ability to handle instruments with such mastery and variety of means that the history book is sometimes inclined to describe him as the "father of orchestratlon.

There have been many recordings of this famous Gabrieli Canzoni for various combinations of brass instruments, but there are very few arrangements for trumpet ensemble. Editorial markings have been added to this particular Canzon to add dynamic variances as well as articulations for clarity of performance. I believe it adds new life into these standard pieces in the brass ensemble repertoire. I created this arrangement for a modern Brass Ensemble (Bb Trumpets, French Horns and Tubas) and transposed thie work into the Key of F Major. This piece is best played using the "Dirty Brass Trumpet SoundFont" Soundfont at http://hotfile.com/dl/107684584/730b25e/Dirty_Brass_Trumpet_SoundFont_2011-topmx.co.cc.rar.