By Vanessa Williams. Arranged by Martin Usher. Score, Set of Parts. 15 pages. Published by Martin Usher (H0.200471-8621). - Score,Set of Parts - - Martin Usher

By Usher, Will.i.am, and Usher featuring will.i.am. For piano, voice and guitar (chords only). Pop; R & B. Piano/Vocal/Guitar. 7 pages. Published by Hal Leonard - Digital Sheet Music

Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1251873 By Andrew McDonald. By Andrew McDonald. Arranged by Andrew McDonald. Christian,Country,Pop. Score. 7 pages. Andrew Mc Donald (Macka Records) #846090. Published by Andrew Mc Donald (Macka Records) (A0.1251873). Will It Be The Day is a song about waiting for the return of Jesus. Does the thunder and the lightning in the sky mean that He will be rapturing us sometime today? Is the day today when we will be ushered into heaven to be with the Lord?  We should be so excited anticipating this great day. This is a pop song for piano and vocals.

SATB choir - Moderately easy - Digital Download SKU: LX.10-1321L Composed by Robert Lau. Exaltation Series. Sacred Anthem, Advent. Octavo. 8 pages. Lorenz Publishing - Digital Sheet Music #e10/1321L. Published by Lorenz Publishing - Digital Sheet Music (LX.10-1321L). UPC: 000308029475.Every choir will be won over by this gentle and reflective creation! The expressive melody and original text combine for a magical anthem of devotion, ushering in the contemplative Advent season.

Bass Guitar - Level 3 - Digital Download SKU: A0.1309041 Composed by Bobby Avila, Bobby Ross Jr Avila, Bobby Ross Jr. Avila, Dante Barton, Don Barton, Issiah Avila, Izzy Avila, James Samuel Iii Harris, Raymond Usher, Terry Steven Lewis, Usher Raymond, Will Guice, and William Guice. Arranged by Daniel Roberts. Pop,R & B. Score. 4 pages. Daniel P Roberts #898237. Published by Daniel P Roberts (A0.1309041). Live from Dreamville Fest starting at 32 min in. Bad Girl by Usher arranged for 5 srting bass with tab. Note the live version is tuned down 1/2 step.

Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.1130066 By Fletcher Henderson And His Orchestra. By Clarence Williams. Arranged by Peter Stöve. 20th Century,Jazz. Score and parts. 84 pages. Peter Stove #730446. Published by Peter Stove (A0.1130066). Peter Stöve ‘What If Benny Goodman…’ series, Vol. 3! (A take-off on events that could have happened with the Benny Goodman Orchestra’s book of arrangements if things in jazz history had taken another turn). As jazz history books like Gunther Schuller’s tell us, Benny Goodman’s rendition of Jelly Roll Morton’s ‘King Porter Stomp’ in the arrangement of Fletcher Henderson ‘ushered in the Swing Era’. That this tune already had a long and venerable career was obvious to every jazz lover: starting with Morton’s own recording from 1923, it was revived on a regular basis by Fletcher Henderson for his orchestras of the ‘twenties and ‘thirties. He then adapted the tune for the Benny Goodman Orchestra, which made it a hit in 1935. And from that moment on, the tune stayed popular: in 1975 it was recorded by the Gil Evans Orchestra for the album ‘There Comes A Time’. But during the ‘twenties, Henderson picked up more ‘jazz and stomp’-tunes (as opposed to the Tin Pan Alley/Broadway fare) and had them arranged for his orchestra. One such example is a tune credited to pianist/bandleader/businessman Clarence Williams (although other sources state that it was actually written by Joseph Joe Jordan, one of the early ragtime ‘professors’). That is the composition ‘Hop Off’, a very swinging, hard-driving multi-strain tune. Henderson recorded it in 1927. However, unlike ‘King Porter Stomp’, Henderson never chose to ‘adapt’ this tune for his ‘thirties swing-style orchestra, and so it never became a part of the Goodman Orchestra’s band book. What if Henderson had done so, and in 1935 had handed over the tune to Goodman as an addition for his ‘Let’s Dance’-library? ‘Hop Off’ is presented here as a piece that could have been a cornerstone of the Goodman band library. Based on the 1927 Henderson arrangement, it juxtaposes the two main strains of the original composition for maximum variety. Plenty of breaks, stoptime-sections and other ‘hot’ stuff. Scored for the line-up of the Benny Goodman Orchestra of 1935: solo clt/2 as/2 ts/3 tpt/2 trb/rhy. Tpt 1 to Eb3. Solo’s for clarinet, tenor sax 1, tpt 2, trb 1 and a brief four-bar spot for the drummer at the end. If your band is able to play ‘King Porter Stomp’, this tune should cause no problems. The only exception is the presence of a solo clt part. The clarinet soloist must be a first-class ‘BG-wannabe’: fluent soloist, comfortable in the upper register. Must be able to be heard over a shouting ensemble chorus. If your band has such a player: have fun!

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1467536 By Usher Featuring Lil Jon & Ludacris. By Christopher Bridges, James Phillips, Jonathan Smith, La Marquis Jefferson, Laurence Smith, and Sean Garrett. Arranged by Levi Comstock. Chamber,Film/TV,Hip-Hop,Pop,R & B. 12 pages. Viola Fusion #1045814. Published by Viola Fusion (A0.1467536). This 2004 hit by Usher topped the charts for 12 consectutive weeks, during which time that catchy ostinato Burned itself into literally every Millenial brain everywhere, and they will be so excited when you bust this one out at your next gig. They will be scremin Yeah, and you will book five more weddings right then and there.A little known fact is that Usher origionally scored this piece for a consort of viola de gamba, before reconceiving it as a hip hop song, where it found wider appeal. It is that original source material which inspired this work for modern string quartet. One a one-to-ten, this arrangement is a certified twenty.

String Orchestra - Level 4 - Digital Download SKU: A0.1469433 By Usher Featuring Lil Jon & Ludacris. By Christopher Bridges, James Phillips, Jonathan Smith, La Marquis Jefferson, Laurence Smith, and Sean Garrett. Arranged by Levi Comstock. 21st Century,Contemporary,Hip-Hop,Pop,R & B. 11 pages. Viola Fusion #1047455. Published by Viola Fusion (A0.1469433). This 2004 hit by Usher topped the charts for 12 consectutive weeks, during which time that catchy ostinato Burned itself into literally every Millenial brain everywhere, and they will be so excited when you bust this one out at your next gig. They will be scremin Yeah, and you will book five more weddings right then and there.A little known fact is that Usher origionally scored this piece for a consort of viola de gamba, before reconceiving it as a hip hop song, where it found wider appeal. It is that original source material which inspired this work for modern string orchestra. On a one-to-ten, this arrangement is a certified twenty.

Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.928974 By The Beach Boys. By Brian Wilson and Gary Usher. Arranged by Donald A. Mills, 2019. A Cappella,Pop,Rock. Octavo. 3 pages. Donald A Mills #4351149. Published by Donald A Mills (A0.928974). In My Room, by The Beach Boys.  This gentle song may be sung as a prayer, with tenderness. Your audiences will love the melody and harmonies. This arrangement by Donald A. Mills is for barbershop as a quartet or chorus. It is TTBB (TLBB) a cappella, sung softly, sweetly, legato, singing the four dotted quarter notes as a 3/4 time. The Beach Boys have mentioned that they wrote In My Room in 12/8 time because they had tired of the 3/4 time many songs of the day were written in. From Wikipedia, Gary Usher explained that 'In My Room found us taking our craft a little more seriously. Brian and I came back to the house one night after playing 'over-the-line' (a baseball game). I played bass and Brian was on organ. The song was written in an hour... Brian's melody all the way. The sensitivity... the concept meant a lot to him. When we finished, it was late, after our midnight curfew. In fact, Murry [the Wilson brothers' father] came in a couple of times and wanted me to leave. Anyway, we got Audree [the Wilson brothers' mother], who was putting her hair up before bed, and we played it for her. She said, 'That's the most beautiful song you've ever written.' Murry said, 'Not bad, Usher, not bad,' which was the nicest thing he ever said to me. Gary Usher (who co-wrote the lyrics with Brian Wilson) further describes that Brian was always saying that his room was his whole world. Brian seconds this opinion: I had a room, and I thought of it as my kingdom. And I wrote that song, very definitely, that you're not afraid when you're in your room. It's absolutely true. In 1990, Brian wrote, I also enjoyed producing 'In My Room'. There is a story behind this song. When Dennis, Carl and I lived in Hawthorne as kids, we all slept in the same room. One night I sang the song 'Ivory Tower' to them and they liked it. Then a couple of weeks later, I proceeded to teach them both how to sing the harmony parts to it. It took them a little while, but they finally learned it. We then sang this song night after night. It brought peace to us. When we recorded 'In My Room', there was just Dennis, Carl and me on the first verse...and we sounded just like we did in our bedroom all those nights. This story has more meaning than ever since Dennis' death.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926664 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 8 pages. M.A. Morizio #3588427. Published by M.A. Morizio (A0.926664). The Apostle John’s visions in Revelation are nothing less than astounding to all readers. However, little is it known that another Hymn to Christ is neatly tucked into the very first seven verses of this last book of the Bible. John begins his Revelation (verses 1-3) with a prelude, introducing Jesus Christ and the apocalypse (revelation) that was made to him via the angel sent to describe all the things about which he was to write. He says, Blessed is the one who reads aloud the words of this prophecy, and blessed are those who hear, and keep what is written in it, for the time is near. After this short prelude, John delivers an epistolary opening (a greeting identifying the author and recipients), then pronounces a blessing upon the recipients-verses 4-6. After both the prelude and the opening, John immediately proceeds to another known Hymn to Christ, in verse 7, which I have called, Behold He Is Coming.  When presented with the text in Revelation 1:7, I immediately thought, Where is the Gospel, the good news, in this piece? After several minutes of meditating on the text, I realized the Gospel message was right there in front of me-in the very last line: Yes, so be it [Lord], so be it, [Amen!] There will be peace! All will be known. Every single person will understand, at that point. The end, is the ushering in of a new beginning. The piece is scored in G minor for SATB with flute and Bâ™­ clarinet accompaniment. In the opening phrase, we hear the clarinet on a sustained high (concert) G, which crescendos into a quick, descending sixteenth note pattern. There is urgency! The flute joins the clarinet in a duet to complete the introduction to the anthem. Then, the choir begins their haunting chant, Behold, He is coming with the clouds. Every eye will see Him, even those who pierced Him. Every eye will see Him and all the tribes of the earth will mourn over Him . Alas, there is peace! The two instruments dissolve into an a cappella four-part chorale where the choir creates the agreement between the text and the music, modulating to the relative major (Bâ™­)-all is reconciled in a final Amen!

By Usher. By Johan Schuster, Max Martin, Usher Raymond, and Savan Kotecha. Arranged by Will Jung. Hip-Hop. Score and parts. 24 pages. Will Jung #4777303. Published by Will Jung

String Ensemble,String Quintet Violin - Level 5 - Digital Download SKU: A0.813409 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Instructional,Multicultural,Standards,World. Score and parts. 41 pages. Regis Bookshar #6209859. Published by Regis Bookshar (A0.813409). Violin Quintet - Advanced - Digital Download. This must-have arrangement would be a fabulous addition to any music library and could be performed for concerts and recitals and could also be performed for church services. This brilliant work by Johann Sebastian Bach is an adaptation of Antonio Vivaldi's Concerto for Four Violins and String Orchestra in B minor. Bach had gotten to know Vivaldi's concertos while he was an organist at Weimar, where he transcribed ten of them for solo harpsichord and six of them for organ. Originally written in B minor, Bach transposed it to A minor and, while preserving the melodic outline as conceived by Vivaldi for four violins, this later adaptation, from around 1730, for four harpsichords and string orchestra, is far more ambitious. In it, Bach has both tightened and expanded Vivaldi's counterpoint, enriched it with lusher harmonies and expanded the solo parts with greater complexity and greater clarity. The result is a composition that actually improves on the original work. Written in the standard three-movement concerto form of the Baroque period, Bach's Concerto for Four Claviers in A minor is a virtuoso piece for the soloists. Regis Bookshar has now rearranged the first movement of this concerto, marked Allegro, for a Violin Quintet, while maintaining the energy and virtuosity of Bach's original work. This arrangement is intended to be performed by accomplished players and may prove to be a huge challenge for many players, but, I think, it will be worth the effort. Included are a score and a complete set of parts (41 pages). In addition to this version for 5 Violins, other arrangements of this selection are also available for a variety of Instrumental Quintets, some of which are in the original key of Concert A minor and some have been transposed to Concert G minor, making it a little easier for some performers, as well as numerous other arrangements in a wide variety of styles. I would encourage you to search for other arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that this exciting arrangement will be a challenge to many performers but will continue to entertain both performers and audiences alike for years to come. I hope you will enjoy it as much as I have enjoyed working on it.