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Saxophone quintet arrangement of the stirring toreador's march from the tragic opera of the same name by Manuel Penella Moreno.
Manuel Penella Moreno was a prolific Spanish composer. Much of his music is forgotten today, but this may be his best-known work. It is commonly performed in celebrations and nostalgic concerts in Spain and occasionally throughout the Spanish-speaking world. It is among the best known pasodobles (two-step marches).
In Penella's opera El Gato Montes which premiered in 1916, the tragic hero Rafael (tenor) is promoted from apprentice to full matador and thus emboldened publicly professes his love for the gypsy girl Solea (soprano). Shortly the murderer Juanillo called El Gato Montes (The Wildcat) (baritone) emerges from his wilderness seclusion and tells the gathered crowd that he is in fact Solea's true love, and that his crime was committed in defense of her honor.
In the climactic close of the of the second act, Matador Rafael triumphantly enters the bull ring of Seville to heroically face his burden of honor, to defeat six bulls and then face off against the villain-redeemed-by-love Juanillo to win the hand of Solea or die trying. The majestic and inspiring "Pasodoble" is heard as he enters the ring.
Traditionally Spanish audiences shout "Ole!" at the conclusion of the four ascending phrases of the chorus which musically depict the passes of the bull. With a little coaching the audience could follow the lead of the soprano/alto players who would be able to cue them at the pickups to measures 50, 54, 66 and 70. This adds a bit of fun to an already lively performance. The audience could also be coached to shout "Ole!" on the closing two chords of both passes through the piece.
This tragic opera depicts the brave and noble jilted matador Rafael gored to death by a bull shortly after entering the ring at the end of the second act, and Juanillo (El Gato Montes) killed at his request by one of his compadres as the police arrive to arrest him at the end of the third act. Solea is left weeping.
It is our hope that your performance of this piece ends on a more positive note.
This setting is for a sax quintet consisting of one soprano sax, two alto saxes, one tenor sax, and one baritone sax. Substitute parts include alto sax to cover the soprano sax part, and tenor sax to cover the second alto sax part.
EL GATO MONTES, pasodoble torero from the opera of the same name by Manuel Penello Moreno, arranged by Tom Kirkland for saxophone quintet comes in a pdf file of 548K, with an eight-page score, seven one-page parts, and a license page, fifteen pages in all. Performance time should be about three minutes.
Mozart wrote some fun chamber music for woodwind ensembles that is interesting and lively to listen to and fun to perform. We've taken a couple of these pieces and arranged them as a two-movement mini-suite for saxophone quintet.
The saxophone did not come along until several decades after Mozart's death, but this re-engineering of his work for this newer instrument produces a pleasing effect.
It is written to be used as a single piece with a segue directly from one section to the other. Of course, you can cut it up or perform it with a pause between as suits your ensemble.
This could be a fun intermission piece for a band concert, or an encore piece for a multi-sax recital.
The instrumentation is one soprano saxophone, three alto saxophones, one tenor saxophone, and one baritone saxophone. There are no alternate parts provided.
MINUET AND SERENADE, an arrangement of two short Mozart woodwind pieces for six saxophones (one soprano, three altos, one tenor, and one baritone) by Tom Kirkland, comes in a pdf file of 339K, with a eleven-page score, six two-page parts, and a license page, twenty-four pages in all. Performance time should be approximately 3:40 to 3:50.
A peppy little chamber music piece for soprano (or clarinet), two altos, tenor, and bari.
J. S. Bach wrote a great many pieces during his lifetime, most of them for use in the church. From time to time he did write some solo keyboard works for clavier or harpsichord. Among them are the two English Suites, written in an attempt to assume the style of the English baroque composers, of whom Handel is the best known. Most musicologists would probably say that what Bach acheived is more in the French style of the time, but that does not make the pieces any less interesting.
There are two bourrees in the second English Suite, and we have chosen to present the livelier second bourree ("boo-RAY").
This arrangement is scored for a sax quintet consisting of one soprano, two altos, one tenor and one baritone saxophone. Clarinet may be substituted for soprano sax.
BOURREE by J. S. Bach, arranged by Tom Kirkland for saxophone quintet consisting of one soprano (or clarinet), two altos, one tenor, and a baritone, comes in a pdf file of 209K, with a six-page score, one two-page part, four one-page parts, and a license page, thirteen pages in all. Performance time should be about 1:45.
This is one of the more famous piano pieces ever written, and is an example of the ultimate Russian romantic composer's imagination and technical mastery of the keyboard.
Rachmaninoff had immense hands and long fingers, such that his pieces tend to be filled with large spreads and interlocking fingers. This work, one of his early pieces, shows that this pattern was early to emerge.
Since Rachmaninoff wrote as many as eight or in some cases sixteen notes sounding on the piano simultaneously, it is apparent that some compromises had to be made to bring this work over to saxophone quintet. In addition to harmonically simplifying the piece a bit, it was also transposed to concert Eb minor (from C sharp minor) to stay within the ranges of the various members of the saxophone family. Still, the soprano and alto parts are high in many places.
The "agitato" section was shortened considerably, as it will likely be played much, much slower than most pianists would play it. It is marked at a tempo of 70, but can be played as fast as the players can execute the triplet figure cleanly. Most of that work falls to the alto saxophones. This piece is appropriate for good high school groups and above.
PRELUDE OPUS 3 NO. 2 by Sergei Rachmaninoff, arranged by Tom Kirkland for saxophone quintet consisting of one soprano, two altos, one tenor, and one baritone, comes in a pdf file of 274K, with a six-page score, five two-page parts, and a license page, seventeen pages in all. Performance time should be about 4:30.
The more one learns about Stephen Foster, the more interesting and sad the story becomes. For nearly twenty years around the time of the Civil War, he wrote most of the popular songs published in the United States, yet died flat broke at the age of 37. He sold most of his songs to publishers for lump sums. Some he did not sell at all. Copyright and royalty laws being what they were at the time, up to five or more publishers would have competing editions of his songs in print, and other than whatever he could get up front, he rarely saw any money.
First published in 1854, this song stands as Stephen Foster's most popular romantic piece. It is reported to have been written with his wife, Jane, in mind.
In this arrangement, the tenor sax carries the melody the first time through, and the soprano sax plays it on the second pass. There are three stanzas but only two are heard in this arrangement, so it is up to you how you'd want to handle the lyric if you intend to print it in a program.
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I dream of Jeanie with the light brown hair,
Borne like a vapor on the sweet summer air;
I see her tripping where the bright streams play,
Happy as the daisies that dance on her way.
Many were the wild notes her merry voice would pour,
Many were the blithe birds that warbled them o'er:
I dream of Jeanie with the light brown hair,
Floating, like a vapor, on the soft summer air.
I long for Jeanie with the daydawn smile,
Radiant in gladness, warm with winning guile;
I hear her melodies, like joys gone by,
Sighing round my heart o'er the fond hopes that die:
Sighing like the night wind and sobbing like the rain,
Waiting for the lost one that comes not again:
I long for Jeanie, and my heart bows low,
Never more to find her where the bright waters flow.
I sigh for Jeanie, but her light form strayed,
Far from the fond hearts round her native glade;
Her smiles have vanished and her sweet songs flown,
Flitting like the dreams that have cheered us and gone.
Now the nodding wild flowers may wither on the shore
While her gentle fingers will cull them no more:
Oh! I sigh for Jeanie with the light brown hair,
Floating, like a vapor, on the soft summer air.
The more one learns about Stephen Foster, the more interesting and sad the story becomes. For nearly twenty years around the time of the Civil War, he wrote most of the popular songs published in the United States, yet died flat broke at the age of 37. He sold most of his songs to publishers for lump sums. Some he did not sell at all. Copyright and royalty laws being what they were at the time, up to five or more publishers would have competing editions of his songs in print, and other than whatever he could get up front, he rarely saw any money.
This particular song was written in 1850 and first published in 1853. Foster was from the black-face minstrel show tradition, and this was the first of his popular songs not to use the minstrel show "slave dialect." It is said to have been influenced by letters to his parents from his older sister staying in Bardstown, Kentucky, and a possible visit to Bardstown by Foster when he was traveling to Louisville. Foster's sympathy for slaves grew over time, and he never used the "slave dialect" in a lyric again.
The song gained considerable popularity during the Civil War, and was heard in the camps of armies on both sides. By 1900, it was a nearly universally-known sentimental favorite around the nation, and was especially favored in Kentucky.
My Old Kentucky Home was first used as the lead-in music for the famous Kentucky Derby horse race in 1924, and in 1928, the Commonwealth of Kentucky made it their official state song. In 1986, the word "darkies" was replaced with "people" by the Kentucky legislature in deference to modern sensibilities. Today both the University of Louisville and the University of Kentucky have rich traditions involving this song.
Foster was a master of the simple, memorable melody.
In this arrangement, a full introduction is followed by the second alto carrying the melody for the first stanza, backed by a trio, the first alto and soprano playing the same, low part. "Weep no more my lady..." is played by a quartet of soprano, both altos, and tenor, and second alto with trio resumes for the reprise lines.
After a key change, the soprano leads the second stanza with full five-part harmony. Once again the soprano, altos, and tenor form a quartet for the "Weep no more..." section, and the five part harmony comes back in for a subdued reprise section and coda line.
This arrangement is enharmonic with the brass quintet arrangement mentioned above, which creates interesting possibilities for a performance group.
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The sun shines bright in My Old Kentucky Home,
'Tis summer, the people are gay;
The corn-top's ripe and the meadow's in the bloom
While the birds make music all the day.
The young folks roll on the little cabin floor,
All merry, all happy and bright;
By'n' by hard times comes a knocking at the door,
Then My Old Kentucky Home, good night!
Weep no more my lady
Oh weep no more today;
We will sing one song
For My Old Kentucky Home
For My Old Kentucky Home, far away.
The head must bow and the back will have to bend,
Wherever the people may go;
A few more days, and the trouble all will end,
In the field where the sugar-canes grow;
A few more days for to tote the weary load,
No matter, 'twill never be light;
A few more days till we totter on the road,
Then my old Kentucky home, goodnight.
Weep no more my lady
Oh weep no more today;
We will sing one song
For My Old Kentucky Home
For My Old Kentucky Home, far away.
David Hepburn's beautiful piece arranged for two altos, tenor, and baritone sax. Optional clarinet part included which doubles the first alto part.
David Hepburn is a retired minister-of-music, choir director, band director, missionary, teacher, and school president, and a fine tenor and trumpeter. His many compositions are a testament to the works of Jesus he has seen in the lives of others and in his own life.
In 1993, shortly after completing this piece as a piano solo, David was disabled by a stroke and has not written music since.
LAST by David Hepburn, arranged by Tom Kirkland for saxophone quartet consisting of two altos, one tenor, and one baritone, with optional clarinet to substitute for first alto, comes in a pdf file of 187K, with a three-page score, five one-page parts, and a license page, nine pages in all. Performance time should be approximately three minutes.
Lively piece by J. S. Bach arranged for flute quartet.
J. S. Bach wrote a great many pieces during his lifetime, most of them for use in the church. From time to time he did write some solo keyboard works for clavier or harpsichord. Among them are the two English Suites, written in an attempt to assume the style of the English baroque composers, of whom Handel is the best known. Most musicologists would probably say that what Bach acheived is more in the French style of the time, but that does not make the pieces any less interesting.
There are two bourrees in the second English Suite, and we have chosen to present the livelier second bourree ("boo-RAY").
This piece could be performed by a flute trio by omitting the third flute part.
Download the optional alto flute part that can substitute for FLUTE 4.
BOURREE by J. S. Bach, arranged by Tom Kirkland for flute quartet, comes in a pdf file of 203K, with a four-page score, four one-page parts, and a license page, nine pages in all. Performance time should be about 1:45.
David Hepburn is a retired minister-of-music, choir director, band director, missionary, teacher, and school president, and a fine tenor and trumpeter. His many compositions are a testament to the works of Jesus he has seen in the lives of others and in his own life.
THREE KINGS arranged by David Hepburn for flute trio comes in a pdf file of 163K, with a one-page score, three one-page parts, and a license page, five pages in all. Performance time should be about one minute.
Bred Dina Vida Vingar is a hymn lyric penned by "the Swedish Fanny Crosby," Lina Sandell. The translation printed below is by Ernest Ryden. The tune is an old Swedish folk melody.
In this arrangement, the flute plays the melody for the first stanza while the cello plays an arpeggiated accompaniment the echoes one of Bach's pieces for unaccompanied cello. The cello then takes the melody for a stanza while the flute plays some figures over the top. The original stanza reprises to complete the piece.
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Thy holy wings, dear Savior, spread gently over me,
And through the long night watches I'll rest secure in Thee.
Whatever may betide me, be Thou my hiding place,
And let me live and labor each day Lord, by Thy grace.
Thy pardon, Savior, grant me, and cleanse me in Thy blood;
Give me a willing spirit, a heart both clean and good.
O take into thy keeping Thy children great and small,
And while we sweetly slumber, enfold us, one and all.
THY HOLY WINGS, Swedish hymn tune arranged by Tom Kirkland for flute and cello duet, comes in a pdf file of 235K, with a four-page score, two one-page parts and a license page, nine pages in all. Performance time is approximately three minutes.
Beautiful melody for solo violin with piano accompaniment. Also works for oboe or flute.
In this piece, Louis Lewandowski has given us one of the most gorgeous melodies ever composed. The line simply flows like so few melodies seem to do. The rise and fall of the melody is almost achingly beautiful.
Composed originally for the synagogue as a setting for the Hebrew text of Psalm 92:13-16, it suits the human voice well, as well as all manner of instruments.
For this version, we have kept the piano accompaniment very simple. There is an optional repeat to make the piece a bit longer.
This piece could also be used with oboe or flute.
MP3 sound sample: entire piece without repeat (synthesizer/midi).
TZADIK KATAMAR by Louis Lewandowski, arranged by Tom Kirkland for solo violin with simple piano accompaniment, comes in a pdf file of 162K, with a two-page piano score with solo line, a one -page solo part, and a license page, five pages in all. Performance time should be about 1:20 without the optional repeat.
Bach's beautiful piece presented for five trombones (four tenors and a bass). Also would work with five bassoons or five cellos, or even better, four euphoniums and a tuba.
It's hard to imagine what could be left to write about J. S. Bach's ARIOSO, one of the most beautiful pieces of music ever written.
We present it here for five trombones (four tenors and a bass). The first trombone plays the melody line, and the bass has a somewhat interesting line to play. The remaining three parts consist entirely of quarter notes, and are therefore not very interesting to play. The point, however, is to frame the melody line, and the quarter notes serve well to keep the rhythm going while remaining in the background.
This piece could work for bassoons, or cellos, or what might be the best alternative ensemble, four euphoniums and a tuba.
ARIOSO by J. S. Bach, arranged by Tom Kirkland for trombone quintet, comes in a pdf file of 216K, with a five-page score, one two-page part, four one-page parts, and a license page, twelve pages in all. Performance time should be about three minutes.
J. S. Bach wrote a great many pieces during his lifetime, most of them for use in the church. From time to time he did write some solo keyboard works for clavier or harpsichord. Among them are the two English Suites, written in an attempt to assume the style of the English baroque composers, of whom Handel is the best known. Most musicologists would probably say that what Bach acheived is more in the French style of the time, but that does not make the pieces any less interesting.
There are two bourrees in the second English Suite, and we have chosen to present the livelier second bourree ("boo-RAY").
BOURREE by J. S. Bach, arranged by Tom Kirkland for two flutes and cello, comes in a pdf file of 188K, with a two-page score, three one-page parts, and a license page, six pages in all. Performance time should be about 1:45.
The famous J. S. Bach Arioso set for solo trombone with relatively simple piano accompaniment. Could also work with euphonium, bassoon, or cello.
It's hard to imagine what could be left to write about J. S. Bach's ARIOSO, one of the most beautiful pieces of music ever written.
We present it here for solo trombone, pitched just a little bit high for mid-range players, but ideal for someone who loves to play those high notes. The piano accompaniment is quite simple and intended to frame the solo line, not overshadow it.
For Kevin Brown, a promising young trombonist for whom I have great respect.
This piece could work for euphonium, bassoon, or cello as well.
ARIOSO by J. S. Bach, arranged by Tom Kirkland for solo trombone and piano, comes in a pdf file of 250K, with a two-page solo part, three-page piano part with solo line, and a license page, six pages in all. Performance time should be about three minutes.
A great hmyn of the faith set for two tenor trombones and one bass trombone. Could also be performed by three bassoons or three cellos.
This piece was written for a trombone trio playing during a communion service. While it may have many other uses, this hymn is such a great fit in that situation that it is hard to imagine a better one.
Each of the three players takes the melody for a stanza in turn, and then after a key change, the first trombone plays the fourth stanza.
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In the cross of Christ I glory,
Towering o'er the wrecks of time;
All the light of sacred story
Gathers 'round its head sublime.
When the woes of life o'ertake me,
Hopes deceive and fears annoy,
Never shall the cross forsake me;
Lo, it glows with peace and joy.
When the sun of bliss is beaming
Light and love upon my way,
From the cross the radiance streaming
Adds more luster to the day.
Bane and blessing, pain and pleasure,
By the cross are sanctified;
Peace is there that knows no measure,
Joys that through all time abide.
IN THE CROSS OF CHRIST I GLORY by Ithamar Conkey, arranged Tom Kirkland for two tenor trombones and one bass trombone, comes in a pdf file of 201K, with a three-page score, three two-page parts, and a license page, ten pages in all. Performance time should be about three minutes.
Vivaldi's famous concerto for two trumpets reworked with accompaniment by an ensemble composed entirely of single-reed instruments.
Antonio Vivaldi was a little older than J. S. Bach and his music influenced Bach considerably. Vivaldi's music, however, always seems to be lighter and livelier than Bach's. Vivaldi was a master of the simple, almost mathematically precise phrase. When listening to Vivaldi, the ear is almost never surprised by where the music goes.
Vivaldi's music, like Bach's, was considered outdated and lost favor after immediately his death, and Vivaldi did not become "popular" again in classical music circles until the early 20th century. His concerto for two trumpets has been a favorite of trumpeters for almost a century now.
Written for two natural (valveless) trumpets pitched in C accompanied by a five-voice string orchestra, the piece is in three movements, the Allegro in 4/4 time presented here, followed by a brief Largo, which gives way to a slightly longer Allegro in 3/4 time.
This piece is usually performed by two modern (valved) C trumpets with a chamber orchestra, or possibly with piano accompaniment. The problem with this is that a great many high schools do not have a chamber orchestra of quality on par with their concert band. Such a school would then not be able to expose its students to this work, even if they had access to trumpeters capable of playing it.
For this reason, we chose to re-score this work for two C trumpets and a reed ensemble consisting of clarinets, alto and tenor saxes, and bass clarinets. Most high school bands, even at smaller schools, will be able to put together such an ensemble from within their band, and thus be able to perform this work.
So we present the first movement of the Vivaldi Concerto in C Major for Two Trumpets RV537 with the following parts included in the pdf file:
C Trumpet 1
C Trumpet 2
Clarinet 1
Clarinet 2
Alto Saxophone
Tenor Saxophone
Bass Clarinet
CONCERTO IN C MAJOR FOR TWO TRUMPETS - RV 537 - NO. I by Antonio Vivaldi, arranged for two C trumpets and woodwind ensemble by Tom Kirkland, comes in a pdf file of 464K, including a nineteen-page score, seven two-page parts, and a license page, thirty-four pages in all. Performance time should be about three minutes.
A fun little novelty duet that uses partner songs for "When the Saints Go Marching In" as its hook. For two trombones, or two other bass clef instruments, with piano.
This is a simple little novelty piece written for two trombones (or two euphoniums, two cellos, two bassoons, etc.) with piano accompaniment. The occasion for writing this piece was a fundraiser dinner, with a euphonium, a trombone, and a piano available.
Each trombone takes a turn playing "When the Saints Go Marching In." The piano then gives a little key change, and the second trombone plays "She'll be Coming 'Round the Mountain," with harmony by the first trombone.
This is followed by a duel of partner songs:
Saints with Coming 'Round the Mountain
Saints with Amazing Grace
Saints with The Star-Spangled Banner
The piano then plays "Merrily We Roll Along" in a high register, which is followed by "Good Night Ladies" partnered with Saints. This goes on for a couple of choruses, and everything wraps up with a big finish.
This would be a fun number to end a trombone recital where the student plays with the teacher, or anyplace a couple of trombone players are hanging around with a pianist. All three parts are relatively easy (and easy to memorize), which makes this even more fun to play.
SAINTS, ETC. by Tom Kirkland for two trombones and piano, comes in a pdf file of 232K, with a ten-page piano score, two two-page parts, and a license page, fifteen pages in all. Performance time should be about three minutes.
A trombone trio with piano based on William H. Doane's setting of the Fanny Crosby hymn. Also would work well with three bassoons, three euphoniums, or three cellos.
William H. Doane's tune NEAR THE CROSS was written specifically for the Fanny Crosby hymn lyrics. Appearing in most English-language hymnals across denominational lines, it is a hymn of devotion that is very popular during communion and Good Friday services.
This arrangement begins with a very sparse piano accompaniment and the three trombones playing the first stanza in unison. The second stanza has the same simple accompaniment but the first trombone plays harmony over the top of the two other parts.
The chorus first appears in three-part harmony over a simple accompaniment, which is followed by a transition to a new key by the piano.
The third stanza is in three-part harmony over a more hymn-like accompaniment. And abrupt key change brings in the fourth stanza, also in three part harmony, but with an accompaniment that is quite simple in the right hand but has a rolling eighth-note bass line.
The chorus then appears again in three part harmony with a simple accompaniment for the opening phrases which is quickly followed by an accompaniment featuring a rolling eighth-note bass line.
The final phrases are repeated with great simplicity and largely in unison for a quiet and contemplative ending.
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Jesus, keep me near the cross,
There a precious fountain,
Free to all, a healing stream,
Flows from Calvary’s mountain.
Near the cross, a trembling soul,
Love and mercy found me;
There the bright and morning star
Sheds its beams around me.
In the cross, in the cross,
Be my glory ever;
Till my raptured soul shall find
Rest beyond the river.
Near the cross! O Lamb of God,
Bring its scenes before me;
Help me walk from day to day,
With its shadows o’er me.
Near the cross I’ll watch and wait,
Hoping, trusting ever,
Till I reach the golden strand
Just beyond the river.
In the cross, in the cross,
Be my glory ever;
Till my raptured soul shall find
Rest beyond the river.
Till my raptured soul shall find
Rest beyond the river.
JESUS, KEEP ME NEAR THE CROSS, by W H. Doane, arranged by Tom Kirkland for three trombones and piano, comes in a pdf file of 253K, with a five-page piano score, six-page conductor's score, three two-page parts, and a license page, eighteen pages in all. Performance time should be about 3:45.
This piece was named after it was written, because it has a sort of stormy persistence and well describes the interplay of snow squalls as they are driven about by the wind during a night-time winter snow storm.
The opening section is technically a round, but it has a sort of fugal character to it. A rhythmic figure then accompanies the main motifs during the B section.
After a return to the A section comes a rhythmic quartet section, followed by the main motif once again.
This should be a good piece for second- or third-year players, and will force them to be independent and carry their line with strength and confidence. And it's a nice little concert piece as well.
WINTER STORM by Tom Kirkland for flute quartet comes in a pdf file of 271K, with a seven-page score, four two-page parts, and a license page, sixteen pages in all. Performance time should be about three minutes.
One of Beethoven's most famous piano compositions set for one soprano, two altos, two tenors, and a baritone.
This is certainly one of Beethoven's most famous piano works, and has possbily been transcribed or arranged for almost every combination of instruments one could imagine. But this arrangement might be a first, for all we know.
This score is for one Bb soprano sax, two Eb alto saxes, two Bb tenor saxes, and one Eb baritone sax. There is really no good way around using this particular ensemble. No part is expendable and no part is completely within the range of another sax. If there were to be any substitutions, a clarinet could be used to sub for the soprano sax, and a bass clarinet could be used to sub for the second tenor sax. The latter substitution would change the texture significantly.
The challenge here will be breath support, and keeping the triplets in rhythm. The triplet is carried most of the way by the soprano, but the first alto has a couple of lengthy triplet passages as well.
This should be a fun and familiar concert piece that shows that the sax can play classical/romantic music as well as any instument.
MOONLIGHT SONATA, by Ludwig van Beethoven arranged by Tom Kirkland for saxophone sextet of one soprano, two altos, two tenors, and a baritone, comes in a pdf file of 1257k, with a twelve-page score, one three-page part, five two-page parts, and a license page, twenty-six pages in all. Performance time should be about 5:30.
The tango is just a little over a hundred years old, so it seems fitting that we should celebrate by offering one here.
This piece starts simply enough, beginning with a very standard tango opening in unison. The baritone and tenor saxes then begin the bass line, and the two altos and the soprano come in with a simple melody over the top.
For the B section, the three upper voices break into parts in flowing harmony over the bass line.
The transition features the second alto on a high melody, with the first alto and the soprano playing a little latin-sounding answer over the top.
The B section repeats, then the A section, and we're done.
This piece is written for Bb soprano saxophone, two Eb alto saxophones, Bb tenor saxophone, and Eb baritone saxophone. There are no alternate parts if you do not have that voicing, but you can always use a clarinet to cover the soprano sax part.
TANGO by Tom Kirkland for sax quintet consisting of one Bb soprano sax, two Eb alto saxes, one Bb tenor sax, and one Eb baritone sax, comes in a pdf file of 1050K, with a seven-page score, five two-page parts, and a license page, eighteen pages in all. Performance time should be just under three minutes.
A short piece based on a trio from Bach's motet BWV 227. For two tenors and a bass trombone (or two euphoniums and a tuba, three bassoons, or three cellos).
This piece is based on material from Bach's motet Jesu Meine Freude, BWV 227 Number VIII, So aber Christus in euch ist.
The text of this movement is Romans 8:10-- "If now Christ Jesus lives in you, although the body is dead because of sin, the Spirit is life because of righteousness."
In the motet, this piece appears in C major, voiced for alto, tenor, and bass. It ends with an E major chord to set up the chorale fantasy that follows. This means that it would be almost useless to present this as a straight transcription as the ending would be quite unsettling to the listener. The "fix" was to remove the final phrase and splice a modification of the opening phrases in its place returning the piece to its starting key. This version is written in F major to stay within the working ranges of the three instruments.
There is no workaround for the bass trombone, though this piece could possibly be performed with two euphoiums and a tuba. Other possibilities would be three bassoons or three cellos, ("bass" cello will use the open C string).
IF NOW CHRIST JESUS LIVES IN YOU, by J. S. Bach, arranged by Tom Kirkland for trombone trio consisting of two tenors and a bass, comes in a pdf file of 524K, a four-page score, three two-page parts, and a license page, eleven pages in all. Performance time should be about 2:15.
The angelic song from Mendelssohn's Elijah, set for clarinet trio, or any trio of three matching treble clef wind instruments.
Mendelssohn's Elijah has been a source of many a choral anthem for Sunday morning or classical concert, but many of the movements are adaptable to instruments as well.
This famous SSA trio is reworked for a trio of clarinets. It appears in the key written, D, which means it will sound one whole step lower. This puts the lowest clarinet in its deepest and richest range.
This piece would also work well for many other trios of identical treble clef instruments, however, it is too low for saxophones or flutes, and the phrasing marks are all wrong for string players. Others will find it a relatively easy and fun little piece to play.
The lyric is from Psalm 121:1-3, and Mendelssohn having lived a couple of hundred years ago, it is rendered in "King James" English.
LIFT THINE EYES, from Elijah by Felix Mendelssohn, arranged by Tom Kirkland for clarinet trio, comes in a pdf file of 420K, with a two-page score, three one-page parts, and a license page, six pages in all. Performance time should be about 1:30.
J. S. Bach did some truly amazing things in his lifetime, not the least of which was writing a significant number of motets for use throughout the church year. These motets were typically for four-part choir, sometimes four-part-plus-four-part double choir, and sometimes five-part choir. These were generally accompanied by a small string orchestra or by organ, but since all the accompaniment typically did was double the vocal parts, these pieces are equally effective, some would say more effective, when sung unaccompanied.
What has happened here is to take a couple of small sections of Bach's best-known five-part motet, Jesu Meine Freude, BWV 227, and arrange them for saxophone quintet.
Bach's work was for a choir with two soprano sections, alto, tenor and bass. The saxophone quintet, on the other hand has a soprano, two altos, tenor, and baritone. Arranging this piece for sax quintet required considerable thought about how to transpose the work to make it playable and reduce the amount of part surgery required to keep it sounding true to the original.
The scored configuration of one soprano, two altos, one tenor, and one baritone sax could be slightly altered. Soprano sax is written in Bb so clarinet is an obvious potential substitute. A third alto sax part is also provided to substitute for the soprano sax, though the part is a bit high, but not unplayable.
This piece is not for the faint of heart, and if your browser is equipped to play the midi sample, you will hear why. The fugue has numerous passages in all parts of six-to-eight-count sixteenth-note runs at about 70 beats per minute. As you might expect, Bach has these runs reversing direction and breaking into interval jumps all over the place. They are playable by strong players on all of the instruments named, but considerable rehearsal and practice time will be required to clean up the piece and develop the ensemble needed to stay together.
The chorales are much easier to play, but they would probably not work especially well as a standalone concert piece without the fugue.
FUGUE AND TWO CHORALES OF J. S. BACH, arranged for sax quintet by Tom Kirkland, comes in a pdf file of 1488K, with a eight-page score, five two-page parts, a two-page alternate part, and a license page, twenty-one pages in all. Performance time should be about 4:20.
A sparkling setting of an old Spiritual song for six saxes.
This arrangement starts off moving very quickly with a strident bass line. One can almost see Cab Calloway striding across the stage in his zoot suit.
After one stanza and one chorus, there is a transition to a higher key and a slow blues feel. One stanza is followed by two choruses where the full sonority of six saxophones is explored with some jazz-inspired harmonies, followed by a brief coda.
Upon the mountain my Lord spoke,
Out of His mouth came fire and smoke.
All around me looks so fine,
I ask my Lord if all was mine.
Ev'ry time I feel the Spirit
Moving in my heart I will pray.
Ev'ry time I feel the Spirit
Moving in my heart I will pray.
The Jordan river is chilly and cold,
It chills the body, but not the soul.
There ain't but one train upon this track,
It rolls to heaven and don't come back.
Ev'ry time I feel the Spirit
Moving in my heart I will pray.
Ev'ry time I feel the Spirit
Moving in my heart I will pray.
EV'RY TIME I FEEL THE SPIRIT, arranged by Tom Kirkland for saxophone sextet consisting of three alto saxes, two tenor saxes and one baritone sax, comes in a pdf file of 920K, with a ten-page score, six two-page parts, and a license page, twenty-three pages in all. Performance time should be just over three minutes.
One of the best known American spirituals is Deep River. One cannot argue against the beauty of the tune.
I hate to tell you this, but there is no wood in these woodwinds.
This setting is for six saxes. It is a direct transcription of the third movement of the Slide Suite, transposed for the various members of the sax family.
The six parts are for three altos, two tenors, and one baritone. There are two alternate parts: fourth alto substitutes for first tenor, and clarinet or soprano sax substitutes for first alto. Considering you could also use an alto clarinet to subsitute for one of the alto saxes, and possibly a bass clarinet for one of the tenors, I'm not sure how many possible combinations there are, but I would suggest the best effect would be to do it with all saxes (no clarinets) if at all possible.
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Deep river, my home is over Jordan,
Oh, deep river,
I want to cross over into campground.
Deep river, my home is over Jordan,
Oh, deep river, Lord,
I want to cross over into campground.
And when I get to heaven, I will take my seat,
And cast my crown at Jesus' feet.
Deep river, Lord,
I want to cross over into campground.
DEEP RIVER, an American spiritual arranged by Tom Kirkland, for sax sextet, comes in a pdf file of 566K, with a three-page score, eight one page parts, and a license page, twelve pages in all. Performance time should be about two minutes.
A deep and rich styling of the hymn tune Genevan 42 set for clarinet quintet.
My good friend, Tim Werkema, a woodwind maven accomplished on clarinet, flute, oboe, and sax, has passed away, and I felt his passing needed to be marked by a work for clarinet, his original instrument. I had already sketched the melody of a rag for a clarinet ensemble, but felt that was not fitting for his memorial piece. The hymn "As the Hart About to Falter" using this tune was sung at his memorial service. I reworked a cello duet I had written on this tune several years ago for clarinet quintet, and we have a fitting memorial piece for Tim.
Despite technological change, at least two or three of Louis Bourgeois' hymn tunes have been passed down to church hymnals that will continue in use well into the 21st century. I guess if your music can stay in use for almost six hundred years, you've done pretty well as a composer.
The most popular of Bourgeois' tunes is OLD HUNDREDTH, which is used commonly as the tune for the Doxology (Praise God from Whom all blessings flow...). Perhaps his tune for the 42nd Psalm is less well known, but it is still used in many church traditions. The tune is known in various hymnals as GENEVAN 42 or BOURGEOIS, and has been used with a variety of texts. The title of this piece is drawn from the opening words of the 42nd Psalm, as sung at Tim's memorial service. An alternate title (fine with me if you want to call it this) would be "Comfort, Comfort Ye My People."
A careful listener may notice that the piece alternates between major and minor keys with the same tonic, the hymn tune always appearing in major (or a related key) with the "framing phrases" appearing in minor. This was just a stylistic choice and nothing special should be read into it. I have been listening to a lot of J. S. Bach's music lately, so I will admit to a strong influence in the feel of this setting, and to possibly unintentionally borrowing a musical idea or two from him. On this account I believe I am in some pretty good company.
The difficult part in this piece is the fourth clarinet, which keeps a rolling sixteenth-note theme going through most of the piece. I like to hear a clarinet play low, so much of this piece uses the low register.
AS THE HART, the hymn tune GENEVAN 42 arranged by Tom Kirkland for clarinet quintet consisting of four (soprano) clarinets in Bb and bass clarinet in Bb, comes in a pdf file of 803K, with a four-page score, five two-page parts, and a license page, seventeen pages in all. Performance time should be about 3:15.
Swedish hymn tune set for flute and cello duet. The common lyric is "O let your soul now be filled with gladness..."
This is a setting of an old Swedish hymn tune for flute and cello. Could also be used with violin and cello, oboe and bassoon, or other soprano and bass instrument combinations. It might even work as a two-part invention for piano.
The hymn tune itself is a bit of a mystery. There do not even seem to be many theories as to who wrote it or when, simply that it seems to have come from Sweden.
The lyric most closely associated with this tune in English is by Peter Achan and translated to English by Karl Olsson.
O let your soul now be filled with gladness,
Your heart redeemed, rejoice indeed!
O may the thought banish all your sadness,
That in His blood you have been freed,
That God's unfailing love is yours,
That you the only Son were given,
That by His death He has opened heaven,
That you are ransomed as you are.
If you seem empty of any feeling,
Rejoice, you are His ransomed bride!
If those you cherish seem not to love you,
And dark assails from every side;
Still yours the promise, come what may,
In loss and triumph, in laughter, crying;
In want and riches, in living dying,
That you are purchased as you are.
It is a good, every good transcending,
That Christ has died for you and me!
It is a gladness that has no ending
There in God's wondrous love to see!
Praise be to Him the spotless Lamb,
Who through the desert my soul is leading
To that fair city of joy exceeding,
For which He bought me as I am!
You are certainly welcome to use the first line, O Let Your Soul Now Be Filled With Gladness, as an alternate title for this piece.
SWEDISH FOLK MELODY arranged by Tom Kirkland for Flute and Cello, comes in a pdf file of 509K, with a four-page score, two two-page parts, and a license page, nine pages in all. Performance time should be approximately 3:00.
Faure's peaceful and deceptively simple Pavane set for Violin Cello duet by Keith Templeman.
According to Debussy: "The play of the graceful, fleeting lines described by Faure's music may be compared to the gesture of a beautiful woman without either suffering comparison." The word "ethereal" is the one most often applied to the melodies of this student of Saint-Seans and teacher of Ravel who once played second organist to Charles-Marie Widor.
The Pavane is well-known, though perhaps not as well known as the choral works of Faure, and has been set for any number of combinations of instruments, including saxophones and tuba (tuba?). But in Keith Templeman's arrangement, we find the original orchestral score reduced to just two essential voices, violin and cello. It is fitting that an orchestral work by a master of chamber music be converted to an intimate chamber music setting.
As a cellist himself, Keith Templeman has taken full advantage of the instrument, working a broad range of both tones and expressions for the instrument. The melodic line played by the violin almost becomes accompaniment for the cello part (it's about time, say the cellists of the world).
This piece could possibly be played by other combinations of bass-soprano instruments, but be forewarned. The violin part is probably lower than most flutists or oboists will want to go, and the cello part, with its immense range, will be quite difficult to manage well on any wind instrument save the bassoon, though a very good tubist with an exceptional high range might do well, perhaps paired with a trombone, french horn, euphonium, or trumpet playing the soprano part, though transposing is is left to you if you want to venture it.
PAVANE (OPUS 50) by Gariel Faure, arranged for Violin/Cello duet by Keith Templeman, comes in a downloadable PDF file of 800K that contains a three page score, one page violin part, one page cello part, plus a license page, six pages in all. Performance time should be around 3:45, depending upon interpretation.
Keith Templeman's exciting flute/cello styling mixes "Be Thou My Vision" with "Lord of the Dance" (or "Gift to be Simple") and comes up with something old and something new.
Keith Templeman, a cellist from Buckingham, England, has put together this sparkling piece that shows just what can be accomplished with a flute and a cello. This duet piece is both quite listenable and quite playable, but to bring out all of the subtelties that are available in it will challenge even accomplished players.
Oboe/bassoon, violin/cello, and possibly trumpet/trombone (transposition is up to you) combinations will also be able to make good use of this piece.
What seems to begin as a simple setting of "Be Thou My Vision" becomes a gallop through the second tune, "Lord of the Dance" (or "Gift to be Simple" depending on your perspective) and then the two tunes become intertwined in a contrapuntal fantasy of phrases and melody snippets in various keys and with various timings. A fun and useful piece for many occasions.
FANTASIA ON TWO HYMN TUNES for flute/cello duet by Keith Templeman comes as a downloadable PDF file of 1424K, containing a four-page score, two-page flute part, two-page cello part, and license page, nine pages in all. Performance time is approximately 2:45.
This old Irish song, often sung to the words "Danny Boy," is set here for a flute and cello duet. It could also be used with other treble/bass combinations, or as a keyboard piece.
Sooner or later, just about everybody hears this old Irish song. That it is sometimes badly butchered by would-be Irish tenors trying to milk the audience for the sentiment they may have for the tune is a tragedy that often mars an otherwise wonderful piece.
This tune is most often set to the words "Danny Boy," and was used as theme music for Danny Thomas' television show in the 1950s. The Danny Boy lyric tells the story of a fond separation that the singing party fears may be permanent, so other than the title it is not obvious what connection the song would have with the show. The tender and melancholy lyric is perhaps one of the reasons it has been so often performed, yet the tune itself has much to recommend it.
The melody has a moderately large range for a vocalist, but instrumentalists find it easy to negotiate. The rising and falling of the tune evokes a picture of the green hills of western Ireland, one of the most beautiful places on the earth.
This treatment is intended to frame the natural beauty of the melody in a relatively uncluttered and unaltered form, so that the tune remains completely recognizable, though ornamented in the reprise chorus, while still allowing the artistry and technique of the two players to come through.
This piece can easily be performed by other soprano/bass instrument combinations such as oboe/bassoon or violin/cello. Good high school players should have little difficulty with this piece.
LONDONDERRY AIR for flute and cello, by Tom Kirkland, comes in a PDF file of 769K that contains three pages of musical score, a two-page flute part, a two-page cello part, and a license page, eight pages in all. Performance time should be around 3:10.
This classically styled rendering of Louis Bourgeois' tune for the 42nd Psalm shows off the range and beauty of sound produced by two cellos. Could also be done by two bassoons.
Back in 1551, when Louis Bourgeois penned a set of hymn tunes that were to be published in the Genevan Psalter, he may have recognized the modern cello, but he would not have had the faintest inkling of using computers and the internet to transmit downloadable musical scores.
Despite technological change, at least two or three of Louis Bourgeois' hymn tunes have been passed down to church hymnals that will continue in use well into the 21st century. I guess if your music can stay in use for almost six hundred years, you've done pretty well as a composer.
The most popular of Bourgeois' tunes is OLD HUNDREDTH, which is used commonly as the tune for the Doxology (Praise God from Whom all blessings flow...). Perhaps his tune for the 42nd Psalm is less well known, but it is still used in many church traditions. The tune is known in various hymnals as GENEVAN 42 or BOURGEOIS, and has been used with a variety of texts. One set of words penned by T. Kingo in 1689 begins, "Praise to Thee and Adoration, Blessed Jesus, Son of God..." It is the source of the title of this piece. An alternate title (fine with me if you want to call it this) would be "Comfort, Comfort Ye My People."
A careful listener may notice that the piece alternates between major and minor keys with the same tonic, the hymn tune always appearing in major (or a related key) with the "framing phrases" appearing in minor. This was just a stylistic choice and nothing special should be read into it. I have been listening to a lot of J. S. Bach's music lately, so I will admit to a strong influence in the feel of this setting, and to possibly unintentionally borrowing a musical idea or two from him. On this account I believe I am in some pretty good company. The flow of the two parts is such that it is more natural to have the players cross voices rather than always keeping the lead with one of the two players. This results in both parts containing the same material, just in a different order, therefore, this piece, while not sounding that way, can be considered as a very long and well-concealed round. This is mentioned only to point out that the players will need to be well matched as to skill and tone quality. There is no lead/accompaniment structure to this duet.
Other bass clef instruments will be able to make good use of this piece, most notably two bassoons, two euphoniums, or two trombones. Mixing instruments might be interesting, but would give the piece a much different flavor because of the lead-switching mentioned above.
The occasion for writing this piece was a request by an enthusiastic customer of www.tributek.com. Her exact words were: "...since you asked about my "dream" piece, I'd like GENEVAN 42 (87 87 77 88) set for two cellos (good luck!)." What do you think of it, Sharon?
MP3 sound sample: Entire piece(synthesizer/midi).
PRAISE TO THEE AND ADORATION for two cellos, by Tom Kirkland, comes in a PDF file of 1008K that contains three pages of musical score and a license page, four pages in all. Performance time should be around 3:15.
Dan Pinkston has rendered William Bradbury's hymn tune as a sparkling fantasy for flute, oboe, clarinet, and bassoon.
One might well expect an arrangement of William Bradbury's hymn tune BRADBURY, commonly set to the words "Savior, Like a Shepherd Lead Us," to be as smooth as butterscotch topping. Perhaps that is why Dan Pinkston's arrangement for woodwind quartet is so much fun.
Set for flute, oboe, clarinet, and bassoon, this piece is a study in varied rhythms and contrast between staccato and slurred figures. One can almost imagine sheep heading across a hillside, each in its own direction, as the individual woodwind parts accelerate ahead and then pause phrase by phrase.
High school players will find this piece a challenge, as much of the intricate rhythm counting occurs during rests, and there are many places where an unwary player who misses a time signature change will find him- or herself with an unintentional solo. Almost all college players will easily handle this piece.
This piece is fun to play, and a refreshing change of pace that is idiomatically very modern and quite different from your average woodwind quartet fare. In short, it is offered here because we find it quite musical and interesting, and it is likely that you will too.
Dan Pinkston teaches composition at Simpson College in Redding, California, and plays both clarinet and guitar.
SAVIOR, LIKE A SHEPHERD LEAD US for woodwind quartet (flute, oboe, clarinet, bassoon), arranged by Dan Pinkston, comes in a PDF file of 1736K that contains a seven page score, four parts of two pages each, and a license page, sixteen pages in all. Performance time should be around 2:30.
A unique duet piece for flute and cello, that can also be done with oboe and bassoon or violin and cello.
Perhaps there are not many flute/cello duet combinations out there to perform this piece. Perhaps there are not many violin/cello duets or oboe/bassoon duets, either. But at least one flute/cello duet pair exists and they recently e-mailed and asked if we couldn't come up with an arrangement of this old Irish hymn tune for them.
Well, since we already had two arrangements of this hymn for different combinations out there, it seemed to make sense that we try to follow on with something for just the two voices.
In contemplating how to write for just bass and treble voices, it occured that Bach had written a number of two-part inventions, in which the lower voice part was every bit as much involved in carrying the load as the upper voice. In trying to come up with a way to make that work given that the hymn tune was already extant, this concept evolved into a sort of continuo-style lower voice part supporting at first a simple upper voice part that then becomes an elaborate solo. The end effect would seem to be pleasing to the ear, and the piece can be performed with high school musicians of slightly-above-average skills.
So, we present to you the only arrangement we know of of the Irish tune "Be Thou My Vision" for flute and cello duet, arranged at the request of a couple of young ladies from the Buffalo, New York area. If you are an oboe/bassoon duet or a violin/cello duet, some other pair of treble/bass instruments, or a keyboard player, you should also be able to perform this piece. Enjoy.
BE THOU MY VISION, arranged by Tom Kirkland for flute and cello comes in a pdf file of 659K, with a three-page score, two one-page parts, and a license page, eight pages in all. Performance time for the piece will be about three minutes.
A unique contemporary solo arrangement of the hymn tune, for solo clarinet and piano. Setting by Dan Pinkston. Complete MP3 sound sample.
Dan Pinkston has arranged a contemplative contemporary setting for William H. Doane's hymn tune "Rescue." This famous missionary hymn is very familiar, and this setting enhances the rather simple tune.
Dan Pinkston teaches composition at Simpson College in Redding, California, and is an accomplished clarinetist. He has arranged many hymn tunes in his bright, contemporary style. He makes use of unusual harmonies and shifting rhythms to capture the beauty of this basic late-nineteenth century revival song.
MP3 Sound sample: Daniel Pinkston.
The PDF file contains a score with full piano part, and a clarinet part. It may be possible to play this on a trumpet or cornet, but it would change the feel considerably. Also, this piece has much greater pitch range than most brass players will feel comfortable with. The PDF file contains eight pages in all, a five page score, two page part, and license page
(1624K). Performance time runs about 2:50.
David Hepburn's plaintive Mendelssohn-like piece for oboe and piano. Can also be done with other instruments (three transpositions of the solo part are included).
This piece sounds quite simple, but actually requires quite a bit of musicianship to do well. The interplay of the accompaniment and the solo part does not come through too well in the MIDI sound sample, but in actual performance the accompanist and the soloist can work together to provide a performance lush with emotion.
The piece is written in B major, which in itself can be a challenge. It has a broad range but can be easily managed on a oboe, violin, bassoon, or cello. It would be a much greater challenge on trombone (it is relatively high for a trombone piece) or trumpet or clarinet (in addition to being high, transposition for these instruments puts one in the key of C#).
The accompaniment sounds simple enough, but will also provide a challenge for a developing pianist, both because of the key and because of clef changes in the right hand.
The PDF file contains a score with piano and solo line, an oboe/flute/violin solo part, a clarinet/trumpet solo part, and a bass clef bassoon/cello/trombone solo part.
Interesting treatment of a Christmas standard , for three trombones (or bassoons or cellos).
A trio for low-brass instruments. Can be used with trombones, bass-clef baritones, bassoons, or cellos. Range requires third trombone to hit a low D (bass trombone).
Arpeggiation and unusual harmonies give this piece a uniqueness that will make it fresh during a time of year when the old standards can seem a little tired.
WE THREE KINGS arranged by Tom Kirkland for two tenor trombones and one bass trombone comes in a PDF file of 699K, containing a two-page score and three one-page parts, plus license page, six pages in all. Performance time should be about three minutes.
A request was made to score this old Irish tune for a rather unique ensemble. Click to read the story.
One day I got an e-mail from a young lady named Sarah, asking if I could help her find Be Thou My Vision, scored for her particular ensemble. Listening to the collection of instruments she had gathered to perform this work, I made a wild guess that the only way she was going to get what she was looking for was if I scored it for her group.
So, here is an interesting styling of this grand old Irish tune for a most unique collection of instruments: Flute, Oboe, Clarinet, Trumpet, Piano, and Vibraharp.
BE THOU MY VISION arranged by Tom Kirkland comes in a PDF file, 1576K, twelve pages in all, score, piano/vibraharp part, flute part, oboe part, clarinet part, trumpet part. Performance time is about three minutes.
alto flute part
