String Quartet - Intermediate - Digital Download By Panic! At the Disco. Arranged by Sarah Cellobat Chaffee. Score, Set of Parts. 21 pages. Published by Sarah Chaffee

Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download

SKU: A0.1403965

Composed by Danny Marsden S. Widdicombe. Arranged by Geo. Doughty (arranger) & Peet du Toit (orchestrator). Folk,Pop. 73 pages. Peet du Toit #987145. Published by Peet du Toit (A0.1403965).

Grandfather's Clock (popularly known as My Grandfather's Clock) is a song written in 1876 by Henry Clay Work, the author of Marching Through Georgia. It is a standard of British brass bands and colliery bands, and is also popular in bluegrass music. The Oxford English Dictionary says the song was the origin of the term grandfather clock for a longcase clock. In 1905, the earliest known recording of this song was performed by Harry Macdonough and the Haydn Quartet (known then as the Edison Quartet).The song, told from a grandchild's point of view, is about his grandfather's clock.

The clock is purchased on the morning of the grandfather's birth and works perfectly for 90 years, requiring only that it be wound at the end of each week.

The clock seems to know the good and bad events in the grandfather's life; it rings 24 chimes when the grandfather brings his new wife into his home, and near his death it rings an alarm, which the family recognizes to mean that the elderly gentleman is near death and gathers by his bed. After the grandpa dies, the clock suddenly stops, and never works again.

This famous Euphonium solo, with brass quintet, but also with Sam Harrill's percussive magic. Enjoy!

String Quartet String Quartet - Level 5 - Digital Download

SKU: A0.987847

Composed by Robert M. Greenberg. 20th Century. Score and parts. 178 pages. Robert M. Greenberg #90283. Published by Robert M. Greenberg (A0.987847).

Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 33 minutes Year of composition: 1995 Program Note: I. With Friends Like These II. Inner Voices III. Little Hands and Little Feet IV. Freund Barry V. Friendly Persuasion VI. All For One and One For All I've known the Alexander String Quartet since 1987. More than just colleagues, they have become my friends: I've traveled with them, performed with them, watched them rehearse, dined with them in their homes and they in mine; I know their children and they know my children. Throughout the time I've known the members of the quartet I have observed the relationship between them, that special bond shared by the members of any touring band, described by one pundit as being like a bad marriage with no sex. Such issues notwithstanding, this particular marriage works. A string quartet represents, perhaps, the ultimate musical compromise between individual incentive and the common good. In a string quartet, by definition, four distinct instrumental voices and four different instrumental roles unite to create a whole greater than its parts. And, lest we forget, behind each instrument is a person, with his own particular attitudes, feelings, needs, and, yes, issues, all of which must be tempered and blended for the common good of a good performance. Among Friends is, its liberties aside, about the four people behind the instruments of the Alexander String Quartet and their relationships with one another; the way they play, rehearse, get along and, on occasion, not get along. The first movement, With Friends Like These is gritty and contentious in tone. The players argue, debate, annoy, tease, irk, cajole, abuse, harass, form brief alliances, heap merde upon, gang up on, and otherwise find endless ways to irritate each other. It is in this movement that the individual characters of the four instrumental parts stand in highest relief: the first violin as coloratura prima donna, forever attempting to soar above it all; the second violin as the voice in the wilderness, the viola as the voice of reason and the 'cello as mover and shaker. The opening of the movement is marked argument in progress; with greatest intensity. The second, third and fourth movements are a series of portraits, played without a break. In movement two, Inner Voices, the second violin and viola are featured in a collegial and decidedly non-contentious dialogue. Movement three, Little Hands and Little Feet, is the quiet center of the quartet. It is here that the first violin finally attains the lyric heights vainly sought in the first movement. The fourth movement is a vigorous dance entitled Freund Barry. This movement honors three great friends: Dr. Barry Gardiner, whose friendship and support made the writing of this quartet possible; Gustav Mahler, whose Symphony No. 4, second movement (Freund Heine) inspired this one; and Sandy Wilson, who first encouraged me to compose my second string quartet (Child's Play) for the Alexander in 1987 and whose boisterous 'cello is Freund Barry's alter-ego. The fifth movement is entitled Friendly Persuasion. Rapid fire repeated notes, accompanimental figures and melodic lines are shuttled about from voice to voice, each time elaborated or altered in some way. In this way the music slowly metamorphoses, ultimately arriving at a version of the argumentative music that concluded the first movement. Movement six, All For One and One For All is a fast, brief coda/finale, during which the quartet plays primarily in unison, the musical antithesis of the contentious argument that began the quartet. Among Friends was commissioned by the Koussevitzky Foundation in the Library of Congress and the Alexander String Quartet. Among Friends i.

Woodwind Ensemble,Woodwind Quartet Alto Flute - Level 4 - Digital Download

SKU: A0.1033844

Composed by Dora Peja�ević. Arranged by Yuki Hasegawa. 20th Century,Concert,Romantic Period,Standards. 64 pages. Edition les bons concerts #6664631. Published by Edition les bons concerts (A0.1033844).

Dora Peja�ević, born in Budapest in 1885 and died in Munich in 1923, was a composer of the Croatian noble family.

This is one of the fascinating collection of her works that allow for deep expression through the use of harmony that sometimes pushes the limits towards her later years, as is typical around the beginning of the 20th century.

The arrangement for flute quartet was commissioned by the Japan Croatia Music Society and was completed in July 2021, and premiered in Tokyo on 6 August by the Flute Quartet Tsutsu-uraura. The recording/Youtube is by Ms. Mari Akimoto (Fl.1), Ms. Natsuki Oba (Alto Fl.), Mr. Atsushi Kawasaki (Fl. 3), Ms. Shiho Shirasaki (Fl. 2).

Arranger Yuki Hasegawa, biography

Arranger, pianist, conductor and producer.

Shortly after enrolling in the piano department of Kunitachi College of Music, she was appointed as the official accompanist for the flute public lecture, and since then she has co-starred about 150 works in the flute repertoire. After leaving for study abroad in Paris, she often performed as the official accompanist for flute competitions and masterclasses there also, and won four first prizes in a duo with flute.

She completed the departments of piano accompaniment, chamber music, écriture musicale and orchestration at the Conservatoire Supérieur de Paris-CNR and others. She also studied écriture musicale at the CNSM-Lyon. She studied under Profs. Alain Louvier, Bernard de Crépy and other representative professors in France in terms of composition and arrangement.

She later completed the conducting biennio department at the Milano Civica Scuola di Musica Claudio Abbado, and in recent years has been the guest conductor at the Japan Croatia Music Society. She travels to various parts of Croatia to research music, visits music research institutes and composers, and strives for understanding. As a chamber musician, she has also worked on numerous experimental harmony works of the same era as Dora PejaÄ�ević, and has also recorded on CD.

She is a member of the Irish Music Rights Organisation and the Mechanical-Copyright Protection Society in U.K. Her works can be licensed for use by representative organisations in each country.

Representative of the Edition les bons concerts and cooperating artist of the Pro Arte Musicae Co., Ltd. Japan.

(As of 20, December 2021)

About Edition les bons concerts

The name of the publisher has been given with the wish: Use this sheet music to do good concerts!

In addition to considering the page-turning position, the sheet musics are designed for ease of use in the rehearsal, such as adding the rehearsal numbers of other editions in case the accompanist's score is different from the soloist's.

Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download

SKU: A0.1033845

Composed by Dora Peja�ević. Arranged by Yuki Hasegawa. Instructional,Romantic Period,Standards,World. 27 pages. Edition les bons concerts #6666767. Published by Edition les bons concerts (A0.1033845).

Dora Peja�ević, born in Budapest in 1885 and died in Munich in 1923, was a composer of the Croatian noble family.

This is one of the fascinating collection of her works that allow for deep expression through the use of harmony that sometimes pushes the limits towards her later years, as is typical around the beginning of the 20th century (This early work is still quite simple).

The arrangement for flute quartet was commissioned by the Japan Croatia Music Society and was completed in July 2021, and premiered in Tokyo on 6 August by the Flute Quartet Tsutsu-uraura. The recording/Youtube is by Ms. Mari Akimoto (Fl.1), Ms. Natsuki Oba (Alto Fl.), Mr. Atsushi Kawasaki (Fl. 3), Ms. Shiho Shirasaki (Fl. 2).

Arranger Yuki Hasegawa, biography

Arranger, pianist, conductor and producer.

Shortly after enrolling in the piano department of Kunitachi College of Music, she was appointed as the official accompanist for the flute public lecture, and since then she has co-starred about 150 works in the flute repertoire. After leaving for study abroad in Paris, she often performed as the official accompanist for flute competitions and masterclasses there also, and won four first prizes in a duo with flute.

She completed the departments of piano accompaniment, chamber music, écriture musicale and orchestration at the Conservatoire Supérieur de Paris-CNR and others. She also studied écriture musicale at the CNSM-Lyon. She studied under Profs. Alain Louvier, Bernard de Crepy and other representative professors in France in terms of composition and arrangement.

She later completed the conducting biennio department at the Milano Civica Scuola di Musica Claudio Abbado, and in recent years has been the guest conductor at the Japan Croatia Music Society. She travels to various parts of Croatia to research music, visits music research institutes and composers, and strives for understanding. As a chamber musician, she has also worked on numerous experimental harmony works of the same era as Dora PejaÄ�ević, and has also recorded on CD.

She is a member of the Irish Music Rights Organisation and the Mechanical-Copyright Protection Society in U.K. Her works can be licensed for use by representative organisations in each country.

Representative of the Edition les bons concerts and cooperating artist of the Pro Arte Musicae Co., Ltd. Japan.

(As of 20, December 2021)

About Edition les bons concerts

The name of the publisher has been given with the wish: Use this sheet music to do good concerts!

In addition to considering the page-turning position, the sheet musics are designed for ease of use in the rehearsal, such as adding the rehearsal numbers of other editions in case the accompanist's score is different from the soloist's.

 

Woodwind Ensemble,Woodwind Quartet Flute - Level 4 - Digital Download

SKU: A0.1033846

Composed by Dora Peja�ević. Arranged by Yuki Hasegawa. 20th Century,Standards. 14 pages. Edition les bons concerts #6667327. Published by Edition les bons concerts (A0.1033846).

Dora Peja�ević, born in Budapest in 1885 and died in Munich in 1923, was a composer of the Croatian noble family.

This is one of the fascinating collection of her works that allow for deep expression through the use of harmony that sometimes pushes the limits towards her later years, as is typical around the beginning of the 20th century.

The arrangement for flute quartet was commissioned by the Japan Croatia Music Society and was completed in July 2021, and premiered in Tokyo on 6 August by the Flute Quartet Tsutsu-uraura. The performers in the recording and Youtube are Ms. Mari Akimoto (Fl.1), Ms. Natsuki Oba (Alto Fl.), Mr. Atsushi Kawasaki (Fl. 3), Ms. Shiho Shirasaki (Fl. 2).

Arranger Yuki Hasegawa, biography

Arranger, pianist, conductor and producer.

Shortly after enrolling in the piano department of Kunitachi College of Music, she was appointed as the official accompanist for the flute public lecture, and since then she has co-starred about 150 works in the flute repertoire. After leaving for study abroad in Paris, she often performed as the official accompanist for flute competitions and masterclasses there also, and won four first prizes in a duo with flute.

She completed the departments of piano accompaniment, chamber music, Ã©criture musicale and orchestration at the Conservatoire Supérieur de Paris-CNR and others. She also studied Ã©criture musicale at the CNSM-Lyon. She studied under Profs. Alain Louvier, Bernard de Crepy and other representative professors in France in terms of composition and arrangement.

She later completed the conducting biennio department at the Milano Civica Scuola di Musica Claudio Abbado, and in recent years has been the guest conductor at the Japan Croatia Music Society. She travels to various parts of Croatia to research music, visits music research institutes and composers, and strives for understanding. As a chamber musician, she has also worked on numerous experimental harmony works of the same era as Dora PejaÄ�ević, and has also recorded on CD.

She is a member of the Irish Music Rights Organisation and the Mechanical-Copyright Protection Society in U.K. Her works can be licensed for use by representative organisations in each country.

Representative of the Edition les bons concerts and cooperating artist of the Pro Arte Musicae Co., Ltd. Japan.

(As of 20, December 2021)

About Edition les bons concerts

The name of the publisher has been given with the wish: Use this sheet music to do good concerts!

In addition to considering the page-turning position, the sheet musics are designed for ease of use in the rehearsal, such as adding the rehearsal numbers of other editions in case the accompanist's score is different from the soloist's.

 

Piano Solo - Level 3 - Digital Download

SKU: A0.1262310

By The Carpenters. By John Bettis and Richard Carpenter. Arranged by Timothy Stapay. Film/TV,Pop,Rock,Singer/Songwriter,Standards. Score. 2 pages. Timothy Stapay #855346. Published by Timothy Stapay (A0.1262310).

A piano solo arrangement of Yesterday Once More;  made famous by The Carpenters. 

Yesterday Once More, written by Richard Carpenter and John Bettis, is a hit song by the Carpenters from their 1973 album Now & Then. Thematically the song concerns reminiscing about songs of a generation gone by. It segues into a long medley, consisting of eight covers of 1960s tunes incorporated into a faux oldies radio program. The work takes up the entire B-side of the album.

The single version of the song peaked at number 2 on the Billboard Hot 100 chart, kept from the number 1 spot by Bad, Bad Leroy Brown by Jim Croce.  It was the duo's fifth number two hit and makes them the act with the second-most number two hits on the chart behind Madonna. The song also peaked at number 1 on the easy listening chart, becoming their eighth number 1 on that chart in four years.   It is the Carpenters' biggest-selling record worldwide and their best-selling single in the UK, peaking at number 2 Richard Carpenter stated, on a Japanese documentary, that it was his favorite of all the songs that he had written. He has performed an instrumental version at concerts.

Lyrics:

[Verse 1]
When I was young, I'd listen to the radio
Waitin' for my favorite songs
When they played, I'd sing along
It made me smile

[Pre-Chorus 1]
Those were such happy times
And not so long ago
How I wondered where they'd gone
But they're back again
Just like a long-lost friend
All the songs I loved so well

[Chorus 1]
Every sha-la-la-la
Every whoa, whoa-oh still shines
Every shing-a-ling-a-ling
That they're starting to sing so fine
When they get to the part
Where he's breaking her heart
It can really make me cry
Just like before, it's yesterday once more
(Shoobie-doo, lang, lang)
(Shoobie-doo, lang, lang)
 
[Verse 2]
Lookin' back on how it was in years gone by
And the good times that I had
Makes today seem rather sad
So much has changed

[Pre-Chorus 2]
It was songs of love
That I would sing to them
And I'd memorize each word
Those old melodies
Still sound so good to me
As they melt the years away

[Chorus 2]
Every sha-la-la-la
Every whoa, whoa-oh still shines
(Only oldies, but goodies)
Every shing-a-ling-a-ling
That they're starting to sing so fine
All my best memories
Come back clearly to me
Some can even make me cry
Just like before, it's yesterday once more
(Shoobie-doo, lang, lang)

 
[Outro]
Every sha-la-la-la
Every whoa, whoa-oh still shines
Every shing-a-ling-a-ling
That they're starting to sing so fine
Every sha-la-la-la
Every whoa, whoa-oh still shines
Every shing-a-ling-a-ling
That they're starting to sing so fine...

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download

SKU: A0.1221432

By Stan Kenton & His Orchestra. By L. Wolfe Gilbert, Marion Sunshine, and Moises Simons. Arranged by F. Leslie Smith. Jazz,Latin,Multicultural,Pop,World. 39 pages. Sweetwater Brass Press #817754. Published by Sweetwater Brass Press (A0.1221432).

Can a brass quintet sound like Stan Kenton’s 19-piece big band? No, not really:  no saxophones, no rhythm section, no Milt Bernhart, no Maynard Ferguson, no Bill Russo, no Conte Candoli, no . . .   Well, you get the picture.  But five brass instruments can play in the Kenton style.  And that’s what this is:  “The Peanut Vendor� in the style of the Stan Kenton Orchestra.
      Moisés Simons’ “El Manisero� (“The Peanut Vendor�) was first recorded in the late 1920s.  The melody was relatively simple yet exotic sounding; the lyrics, a Cuban street vendor’s pitch for selling his bags of peanuts.  Consumers bought more than a million copies of the sheet music, and the song supposedly led to a “rumba craze� in the U.S. and Europe (although the song is not really a rumba!).  
     Don Azpiazú and his Havana Casino Orchestra recorded the song for RCA Victor in 1930 with Antonio Machín on the vocal; its sales may well have been more than the million-plus sheet music copies sold.  
     English lyrics were added by L. Wolfe Gilbert and Marion Sunshine and the song became “The Peanut Vendor.�  One estimate is that nearly 200 recordings have been made.  That’s a lot of peanuts. 
     Stan Kenton revived “The Peanut Vendor� in 1947 when he first recorded it for Capitol Records.  His version was completely instrumental.  Rhythm and saxophones opened the number and established the background; later the trombone section added emphasis.  A trombone solo first stated the melody but eventually the five-person trumpet section took over with what one writer referred to as “shrieking dissonances.�  “The Peanut Vendor� subsequently became one of Kenton’s most requested numbers and he recorded it at least three more times.
     This brass quintet arrangement, of course, has access to only two trumpets.  So the good news is that all five players get a chance with the melody.  Kenton’s extended opening trombone solo is shared by Trombone and Tuba.  The “shrieking dissonances� are performed not only by Trumpets but also by Horn in F and Trombone.  The bad news is that all five players have to take a turn with the continuing rhythmic background melody.  Written in 4/4 time, the suggested tempo is 184 BPM in a Latin style.  Kenton’s version is in B-flat major; this arrangement lowers it to A-flat major so that most notes are within the normal playing range of the instruments.  (Don’t worry; the “shrieking dissonances� are still there!)  
     Completed in 2023, performance time runs about 3 minutes, 37 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.  (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.).

String Ensemble,String Trio Cello - Level 3 - Digital Download

SKU: A0.596493

Composed by Juan María Solare. 20th Century,Contemporary,Instructional,Standards. Score and parts. 43 pages. Juan Maria Solare #3088705. Published by Juan Maria Solare (A0.596493).

Six Thinking Hats for 3 violoncelli  (in the first position)

The title of these six pieces for cello trio refers to the theory of the Six Thinking Hats by Edward de Bono. This is a tool that provides a means for groups to think (plan and decide) together more effectively - or at least in a cohesive way.

Six distinct states are identified and assigned a hat color:

* Information (white hat): considering exclusively what information is available, what the facts are.

* Emotions (red hat): instinctive gut reaction or statements of emotional feeling (but not without any justification)

* Bad points judgment (black hat): logic applied to identifying flaws or barriers, seeking mismatch (the cons of an issue).

* Good points judgment (yellow hat): logic applied to identifying benefits, seeking harmony (the pros).

* Creativity (green hat): statements of provocation and investigation, seeing where a thought goes.

* Thinking (blue hat) - thinking about thinking, a control instance.

In my Trio, these color hats are assigned to different characters or moods. For instance the red hat is the most emotional last piece, very rhythmical. Or the black hat corresponds to a reflexive, rational piece which is not pessimistic but rather extreme reflexive, pondering. Or the blue hat, which should reflect the thinking about thinking and is therefore a canon.

Technically speaking, all pieces are written for cello in the first position (sometimes extended or stretched), which makes them quite suitable for young cellists or adult beginners.

The total duration of the work is about 12 minutes. The durations of the single pieces are:

  I = Enfática insistencia (white hat)           [1'00]

 II = Milonga serena (yellow hat)               [1'45]

III = Estado de alerta (green hat)               [1'45]

 IV = Canon arcaizante (blue hat)               [4'00]

  V = Coral en quintas (black hat)               [1'00]

 VI = Finale arrabbiato (red hat)               [2'30]

All these pieces can be performed individually.

These six pieces for three cellists were composed in Bremen (and Worpswede) between 20th and 29th February 2012. They are dedicated to Juliane Dehning (who also kindly made essential suggestions about the bowings). International Standard Musical Work Code (ISWC): T-803.196.242-3

Recorded in La Rioja, Argentina by Dora Heisecke, Roque González & Mariana Alcaraz:

https://www.youtube.com/watch?v=1DluACws6DE

More information: http://www.juanmariasolare.com/six_thinking_hats.html

Cello,Piano - Level 4 - Digital Download

SKU: A0.1033841

Composed by Cesar Auguste Franck. Arranged by Yuki Hasegawa. Concert,Romantic Period,Wedding. Score and part. 59 pages. Edition les bons concerts #6662399. Published by Edition les bons concerts (A0.1033841).

Special piano part for cellist! Arrangement performed at the Cello recital by the 1st soloist of Paris Opéra, Aurélien Sabouret, acclaimed by the Japanese prestigious music magazine Ongaku-no-tomo has been published.

Compatible with your own cello part! (Cello part of Yuki's revision is also attached*)

- Cello can sing using up to pianissimo. Piano part avoided same range.
- Reduced the scenes without soprano. New score realizes natural sound spread.
- Avoided the dialogue cello-piano between the ranges too far away
After the concert, the arrangement was so natural that no one mentioned it!

Also, kind material for pianist:
- Piano score’s cello part is written only with G&F clef.
- Rehearsal numbers and bar numbers are compatible with the 1st edition by Delsart, Bärenreiter edition and Henle edition.
- Page layout is same as 1st edition to facilitate comparison.

Arranger Yuki HASEGAWA, biography:
 Arranger, pianist, conductor and producer.
 She completed the department of piano at the Kunitachi College of Music, and the departments of chamber music, écriture musicale and orchestration at the Conservatoire Supérieur de Paris-CNR. She also studied écriture musicale at the CNSM-Lyon. She studied under Profs. Alain Louvier, Bernard de Crépy and other representative professors in France in terms of composition and arrangement.
 She later completed the conducting biennio department at the Milano Civica Scuola di Musica Claudio Abbado. In recent years she has been the frequent guest conductor and commissioned arranger to the Japan Croatia Music Society, etc.
 As a chamber musician, she has worked on numerous experimental harmony works of the early 20th century, and made CD recordings including the Violin Sonata by Louis Vierne, César Franck's pupil.
 She is a member of the Irish Music Rights Organisation and the Mechanical-Copyright Protection Society in U.K. Her works can be licensed by representative organisations in each country.
 Representative of the Edition les bons concerts and cooperating artist of the Pro Arte Musicae Co., Ltd. Japan.
(As of 20, December 2021)
Latest information & inquiries: https://yukihasegawa.com 

*The cello part is the same as the one distributed free of charge on the official website http://yukihasegawa.com/01 .
Piano part (score) has 37 pages. Preface and comments for the score are 2 pages (English / French).