Fred Evans

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This 3/4 time piece was arranged for a mixed woodwind ensemble,
  harpsichord, and three percussion instruments, triangle, timbales, and bass
  drum. The woodwind ensemble includes at two or more flutes, 2 or more 1st
  clarinets, 2nd clarinet, 3rd clarinet, bass clarinet and/or tenor sax,
  baritone sax, 1st alto sax, 2nd alto sax. The harpsichord part can be played
  by piano or could be left out.
    
    
    
    John Bull was an English composer, organist, virginalist, and organ
  builder. He was born in 1562 
    
    and died in 1628. Bull ranked among the foremost Renaissance English
  composers along with Byrd,
    
    Gibbons, and Tomkins.

Dr. Bull's Juell

Woodwind Ensemble

Instrument Type

This popular ragtime piece from Scott Joplin is written for a Sax Quintet (S, A, A, T, B).  The repeats are optional for time purposes. Included are the programming notes. This is challenging for most sax players, but also fun. Audiences enjoy it as well.

The Easy Winners

Saxophone Quartet-SATB Quintet

This piece was originally written for 2 violins in the key of G as seen,
  thus explaining the three note chords. Players
    
    of like keyed instruments could play this piece on a table facing each
  other looking at the one piece of music. They can decide 
    
    which notes in the chord can be played, although for their written G chord,
  it is often best to hear at least the root (G) and 
    
    the third (B). Adjustments can be made for out of range notes for their
  instrument. Measure markings have been added at the 
    
    beginning of each line for both players for rehearsal purposes.
    
    
    
    There is a controversy over whether Mozart wrote this piece, or possibly
  Franz Joseph Haydn, or J. S. Bach. The piece may have 
    
    come out of 4 Spiegelkanons (Canons), K. Anh. 10. 16 (Mozart). The fourth
  of these canons was attributed to Haydn. Nonetheless, 
    
    it is still unusual piece to hear and an audience to understand how two performers
  use notes on a single page of music.

The Table Top Duet

Bb Instruments Duet

This is a good trio piece for beginning Bb flat instruments. It contains rhythm and dynamic changes that should be observed.

The Nightingale

Bb Instruments Trio

Written during the late 16th Century when England was in a mood of
  national celebration after victory
    
    over the Spanish and French Armadas. The movement which Byrd called
  "Marche Before The Battell"
    
    became known as "The Earl of Oxford's Marche" and it appears with
  that title in an early manuscript
    
    copy of the Fitzwilliam Virginal Book, #259. This arrangement closely
  follows that manuscript. Brass
    
    players should agree on the use of articulation for this piece, especially
  for the 16th note sections, that
    
    being if the notes are tongued or slurred, and/or if the tempo is adjusted
  to a faster pace. This piece
    
    is dedicated to my wife, Sheila. I originally created a slightly different
  version for our wedding that was
    
    performed by the University of Kansas Brass Quintet.

The Earle of Oxfords Marche

Brass Quintet

For Bb Clarinet Solo with Piano accompaniment.

The Girl With The Flaxen Hair

Clarinet Solo with Piano

This trio is arranged for Trumpet trio or Bb Instruments. It was
  originally written in the 17th century by an unknown Dutch composer.

The Nightingale for Trp. Trio or Bb Instruments

Thomas Morely (1557-1603) was an English composer, theorist, singer and
  organist of the Renaissance. He was one of the foremost members of the
  English Madrigal School. This piece appears easy for flutes, but does require
  counting with some time changes. The range lies within mostly one octave.

Canzonetta

Flute Ensemble

"Peacherine Rag" was one of Scott Joplin's early ragtime pieces, arranged for three Bb Clarinets and a Bass Clarinet. The sound of this rag gives a hint of a calliope. It is challenging for most clarinet players and fun. Program notes are included.

Peacherine Rag

Bb Instruments Quartet

This arrangement is a combination of two Irish Folk Dances, The Downfall of Paris and Tow Row Row.  The optional snare drum part was written by John Phillip Sousa. For those flute players that want to perform on St. Patrick's Day festivities, this is a fun selection inspired by the Old Guard Fife and Drum Corps. Even though this is written as a flute duet with snare drum, more flutes can be added.

The Downfall of Paris / Tow Row Row

Mixed Trio

Arranged for three Bb clarinets and bass clarinet, Dieterich Buxtehude
  set the melody as a chorale-cantata in 1683 for soprano, alto and bass
    
    accompanied by two violins and continuo (BuxWV 52) and as a chorale prelude
  for organ (BuxWV 197)
    
    c. 1690. "In dulci jubilo" (Latin for "In sweet
  rejoicing") is a traditional Christmas carol. In its original
  setting,
    
    the carol is a macaronic text of German and Latin dating from the Middle
  Ages.

In Dulci Jubilo-Clarinet Quartet

Immerse yourself in the classical richness of J.S. Bach's Inventio #14, masterfully arranged by Fred Evans for clarinet, bass clarinet, or bassoon. This piece brings timeless elegance and intricate harmonic textures to your repertoire, perfect for seasoned musicians eager to explore the depths of Baroque music. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

Inventio #14 Bach- for Clar, B. Clar., or Bassoon

Flexible Instrumentation Duet

Joseph Bologne, Chevalier de Saint-Georges (25 December 1745 to 10 June
  1799), was a French Creole,
    
    a champion fencer, a virtuoso violinist and composer, and as a free man of
  color conducting leading
    
    orchestras in Paris. During the French Revolution he volunteered in the War
  of the First Coalition against
    
    Austria and headed a regiment, the American Cavalry Legion. In 1796 he left
  for Saint-Domingue, then in
    
    full revolt and attacked by British troops. Within a few months he returned
  to France and spent the remainder of his colorful life devoted to his
  violin.
    
    It is thought he received music and composition lessons from
  FranAois-Joseph Gossec. In 1769 he joined a
    
    new symphony orchestra, ALe Concert des amateurs,A consisting of amateurs
  and professionals, and founded by Gossec; two years later he was appointed
  concertmaster and started composing. In 1773, he was appointed the
  orchestra's conductor. In 1775, he introduced the symphonie concertante,
  using the possibilities offered by a new bow. 
    
    In 1776, he was proposed as the next conductor of the Paris Opera but was
  subsequently denied this role by a petition.
    
    In 1778, he was living at the house of the Duc d'OrlAans, when Mozart also
  was a guest for two and a half
    
    months. After Le Concert des Amateurs disbanded in 1781, he joined a new
  orchestra formed by a masonic lodge that was called Le Concert de la Loge
  Olympique. He stopped composing instrumental works altogether. 
    
    In 1784 he commissioned Joseph Haydn to write six symphonies for them.
  These works were premiered in 1787 and are known today as Haydn's
  "Paris"Asymphonies, nos. 82-87.

Symphony XI- II-Andante-Chevalier

Clarinet Quartet

This piece was published in 1927, the work was first performed by George
  Gershwin in a concert 
    
    at the Hotel Roosevelt in New York City for solo piano. This second
  Prelude, in C-sharp minor, 
    
    has the distinct flavor of a jazz lullaby. The piece begins with a subdued
  melody winding its way 
    
    above a smooth, steady bassline. The harmonies and melodies of this piece
  are built on thirds, 
    
    emphasizing both the interval of the seventh and the major/minor duality of
  the blues scale. 
    
    
    
    This piece represents the memory of my mentor and clarinet instructor,
  James K. Van Slyke, who arranged this piece.

Prelude #2

Clarinet Ensemble

There are no dynamic markings in this piece, because Bach used terraced
  dynamics. With that said players should give in to the moving parts or
  melodic lines.

Fuga

This is a Presto piece in 3 at a quarter= 184. It contains forte and
  echoing piano sections. The first clarinet part goes to high F and G in a
  soft section, which means those players must consider possible alternate
  fingerings to attain that dynamic marking. It is important that the ensemble
  maintain the same articulation together throughout the piece. Enjoy!

Quartet, F Major

Global Sections - CORE [DO NOT TOUCH]*

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