Page 1

L Y SA L U N R O PE ES R S O FO P R PU FOR

BRASS

QUINTET

J.S. BACH | CODY RAY


L Y SA L U N R O PE ES R S O FO P R PU


L Y SA L U N R O PE ES R S O FO P R PU Zion Hort Die Wachter Singen Wachet auf ruft uns die Stimme FOR BRASS QUINTET (Approximate Duration | 4’41’’)

J.S. BACH | trans. by CODY RAY


PROGRAM NOTES

L Y SA L U N R O PE ES R S O FO P R PU

Wachet auf, ruft uns die Stimme ('Awake, calls the voice to us'), BWV 140, also known as Sleepers Wake, is a church cantata by Johann Sebastian Bach, regarded as one of his most mature and popular sacred cantatas. He composed the chorale cantata in Leipzig for the 27th Sunday after Trinity and first performed it on November 25th, 1731. The fourth movement, which this transcription is constructed from, "Zion hort die Wachter singen" (Zion hears the watchmen singing), is based on the second verse of the chorale. It is written in the style of a chorale prelude, with the phrases of the chorale, sung as a cantus firmus by the tenors (or by the tenor soloist), entering intermittently against a famously lyrical melody played in unison by the violins (without the violino piccolo) and the viola, accompanied by the basso continuo. Bach later transcribed this movement for organ (BWV 645), and it was subsequently published along with five other transcriptions Bach made of his cantata movements as the Schubler Chorales.

- Cody Ray


TRANSCRIBER BIO

L Y SA L U N R O PE ES R S O FO P R PU

CODY RAY is a freelance composer, conductor, performer, and educator based in Kalamazoo, Michigan. Born in South Korea and raised in Wadsworth, Ohio, he has established himself as an emerging Midwest composer. He currently serves as a Graduate Teaching Assistant at Western Michigan University and holds a Bachelor of Music Composition degree from the University of Akron.

His bold, energetic and athletic musical style has been featured throughout the United States. Cody has had works performed and/or recorded by ensembles including the Grammy Award winning Cleveland Chamber Symphony, Arizona State University Wind Ensemble, Western Michigan University Symphony Orchestra, The Oberlin Conservatory Brass Ensemble, The University of Akron Brass Choir, and The University of Akron Symphony Orchestra to name a few. His pieces have been featured at the 2020 North American Saxophone Alliance Biennial Conference, the Akron New Music Festival, and Cleveland's NEOSONIC fest. He has had the pleasure of receiving numerous commissions throughout his undergraduate and graduate career from both student and professional groups. Cody was the winner of the University of Akron's Composition Competition, the recipient of the James P. and Maureen C. Kovach Scholarship for the Performing Arts, and a recent finalist for the ASCAP Morton Gould Young Composers Award. He is fortunate to have studied under distinguished composition professors including Lisa Coons, Richard Adams, Nikola Resanovic, Robert Brownlow, and Daniel McCarthy. In addition, he has participated in masterclasses with Jordan Pal, Anthony Donofrio, Andrew Boysen, and Mark Camphouse.

Still maintaining an active trumpet career, Cody has performed in various chamber and orchestral settings, including the Bronson Brass Quintet, the Academy Street Winds (Kalamazoo, MI), the University of Akron (Symphony Orchestra, Jazz Ensemble, Symphonic Band, Chamber Orchestra, Brass Choir, and New Music Ensemble), the Cleveland Philharmonic, the Avenue Brass Quintet, and the University of Akron Faculty Brass Quintet. Cody has enjoyed the opportunity to perform with guest musicians including Nestor Torres, Alexis Cole, Joseph Alessi, John Fedchock, and others. He has competed as both a quarter and semi-finalist in the National Trumpet Competition. Cody's primary trumpet instructors have included Robert White, Joshua Ganger, Mark Maliniak, Jack Schantz, Scott Johnston, and Mark Dulin. He has also had the privilege to participate in numerous masterclasses with preeminent artists such as Justin Emerich, Michael Sachs, Jack Sutte, Mark Hughes, and Hunter Eberly.


Score

Zion Hort Die Wachter Singen Wachet auf, ruft uns die Stimme | BWV 140

J.S. Bach trans. by Cody Ray



                                                         

Trumpet in B  1

Trumpet in B  2

L Y SA L U N R O PE ES R S O FO P R PU Horn in F

     

Trombone

       

Tuba

5

B  Tpt. 1



Hn.



 

 



Tbn.

  

Tuba

     

© 2020 Cody Ray All Rights Reserved

 

                           



B  Tpt. 2



  

            

  


Zion Hort Die Wachter Singen

2

                               

B  Tpt. 1



B  Tpt. 2



Hn.



Tbn.

 

Tuba

    

9

L Y SA L U N R O PE ES R S O FO P R PU



     

B  Tpt. 1



B  Tpt. 2



Hn.



Tbn.

 

Tuba

     

12

  

A

 

       















                                                                 


Zion Hort Die Wachter Singen



16

B  Tpt. 1

B  Tpt. 2

   



 

  

      

      



                                

 

    



L Y SA L U N R O PE ES R S O FO P R PU

Hn.







 

3

Tbn.

Tuba

   

B  Tpt. 1



B  Tpt. 2



Hn.





 

Tbn.

   

Tuba

   

  

 

  

  

 

 

B

     

  

  

                   



20

 

                  

           

  

   

  

  


Zion Hort Die Wachter Singen

4

B  Tpt. 1



B  Tpt. 2



Hn.



Tbn.

 

24

                          



L Y SA L U N R O PE ES R S O FO P R PU

               

Tuba

    

B  Tpt. 1



B  Tpt. 2



Hn.



Tuba



28

Tbn.

       

   

    

 

                            

                  

  




Zion Hort Die Wachter Singen

B  Tpt. 1



B  Tpt. 2



    

32

                    

                   

 

  











         

L Y SA L U N R O PE ES R S O FO P R PU

Hn.

C

5

Tbn.

  

Tuba

             



B  Tpt. 2

Hn.

Tbn.

Tuba



            

            

 



 

  



           



36

B  Tpt. 1





   









            

         

 



  

 

  

       

  

 


Zion Hort Die Wachter Singen

6

B  Tpt. 1



B  Tpt. 2



Hn.



40

   

            



     



  



             

  

L Y SA L U N R O PE ES R S O FO P R PU

      

Tbn.

Tuba

         

B  Tpt. 1



B  Tpt. 2



Hn.





  



Tbn.

   

Tuba

 

 

 

     





  

                   

  

            

            





44






Zion Hort Die Wachter Singen

B  Tpt. 1



B  Tpt. 2



                            

48









D





   

               





L Y SA L U N R O PE ES R S O FO P R PU

Hn.

7

Tbn.

 

Tuba

   

B  Tpt. 1



B  Tpt. 2



Hn.



         

52



 







        

Tbn.

   

Tuba

     



     

              









             










Zion Hort Die Wachter Singen

8

B  Tpt. 1



  

B  Tpt. 2



Hn.



  

56



     



                    

         

 

L Y SA L U N R O PE ES R S O FO P R PU

Tbn.

 





                   

                

B  Tpt. 1



B  Tpt. 2



Tuba

60

Hn.

  



Tbn.

 

Tuba

 

 

          

    



         

              

 

   


Zion Hort Die Wachter Singen E

B  Tpt. 1

 

Hn.



 

                                          

 





      

 

 

 





L Y SA L U N R O PE ES R S O FO P R PU

B  Tpt. 2

9

Tbn.

Tuba

   

B  Tpt. 1



B  Tpt. 2



Hn.



Tuba



                



67

Tbn.



       

    

   

       

  



            

         

                                      



 

 

 

  


Zion Hort Die Wachter Singen

10



71

B  Tpt. 1



Hn.



     

  

         

   rit.  Largo                         

    

               

                                                          

L Y SA L U N R O PE ES R S O FO P R PU

B  Tpt. 2

rit.

Tbn.

Tuba

   

        

            

Opt. 8vb

               


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