| SKU: | RS0248 |
|---|---|
| Category: | Quartets |
Now Thank We All Our God
$14.95
(2 tp, 2 trb/tsx, parts in hn/asx & tba; playable as br 4/5/6)
Related products
-
Lily of The Valley
$9.00A flute quartet that is joyous and exhuberant expressing the finding of the Savior, from beginning to end. It doesn’t let up with its joyous with a flurry of rapture ending on a high note of praise.
-
-
Holy, Holy, Holy
$7.00Written for Clarinet quartet, this pieces creates a solemn presence by the way it interweaves the various parts together. It would work well for a meditation.
-
What A Friend
$9.00Scored for Saxophone quartet (A-A-T-B) with opt. Soprano for first Alto. The introduction starts with the First Alto playing a melodic motif, ever rising to a climatic point and then settling down to the theme- first presented in the First and Tenor parts weaving in and out producing a flowing texture, then joined by the Second Alto and eventually the Baritone. The chorus section of the hymn is a constant weaving of the four parts both harmonically and rhythmically. The next section becomes more active rhythmically adding tension until it settles down into a sweet aura of sound with gentle nudges of harmonic alteration. The final measures give an atmosphere of rest and solace.
-
-
Tis So Sweet To Trust
$8.00A quartet for 2 flutes and 2 clarinets with opt. parts for oboe, B. clar., bassoon and Alto sax. After a brief introduction the flutes carry the melodic material and then shifting the chorus to the clarinets. A modulation shifts the attention to the clarinet melody with punctuation remarks in the other instruments. Further transition moves to another modulation where thematic motifs are passed around in a fughetta fashion where it then becomes more choral in nature ending in a solemn statement.
-
O Sacred Head (unacc)
$5.00This quartet is in a solemn legato style throughout featuring melodic materials in each of the four parts. It is graced with gently moving accompaniment lines that further enhances the reflective spirit which is so evident in this hymn. It peaks in different portions of the composition and then reflects itself in a quiet repose to end.
