Composed by Tcaikovsky, Vivaldi et al., Wolfgang Amadeus Mozart (1756-1791), Ludwig van Beethoven (1770- 1827), Franz Schubert (1797- 1828), Georges Bizet (1838- 1875), and George Frideric Handel (1685-1759). Arranged by Elin Korneliussen. Concert, Graduation, Jewish, Standards, Wedding. Score and parts. 30 pages. Elin Korneliussen #4629925. Published by Elin Korneliussen

Choral Choir (SA) - Level 3 - Digital Download SKU: A0.1031707 Composed by AL H J Hodgson. Christian,Praise & Worship,Sacred,Spiritual. Octavo. 12 pages. AL H J Hodgson #3518561. Published by AL H J Hodgson (A0.1031707). Contemporary and original setting of the traditional Ave Maria for Soprano and Alto voices.Technically easy with kind vocal range (A3-B4). Ideal for young choirs. Piano/Guitar accompaniment + Vocal Guide.

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1078028 By AL H J Hodgson. By AL H J Hodgson. Arranged by AL H J Hodgson. Classical,Praise & Worship,Sacred,Spiritual. Score. 4 pages. Lexana Publications #682231. Published by Lexana Publications (A0.1078028). Soprano + Alto original version of Ave Maria for younger singers.

Choral Choir (SAB) - Digital Download SKU: A0.977677 Composed by Nicolas Saboly? Arranged by Sylvia Miles. Christian,Christmas,Classical,World. Octavo. 2 pages. Sylvia Miles #4890441. Published by Sylvia Miles (A0.977677). La cambo me fai mau in the original Provençal.Probably composed by Nicolas Saboly (1614-1675), poet, composer and chapel-master.Saboly was an interesting figure. Born into a family of herdsmen, he studied theology and became a Jesuit priest. (But in 1634 he left the University of Avignon without taking his degrees - wonder why?) He composed and collected many carols in the Provençal dialect, which form one of the monuments of poetry in that language, and have been repeatedly published right up to the present day.To be sung with humour! and a nice punchy rhythm from the altos.Words:2. Tous les bergers, campés sur la montagne, Tous les bergers ont vu le messager, Qui a crié mettez-vous en campagne, Qui a crié le fils de Dieu est né:3.Pour ma santé les fièvres sont malsaines, Pour ma santé vaut mieux les éviter.J’ai attrapé une fièvre quartaine, J’ai attrapé que j’en reste éclopé:4.Les gens à pied me laissent en arrière, Les gens à pied me laissent le dernier.Un malotru a ri de mes manières, Un malotru tout lourd et tout ventru:5. Mon cheval blanc qui passait ventre a terre, Mon cheval blanc me mènera devant;L’ai acheté d’un qui venait de guerre, L’ai acheté moins cher qu’il n’a couté:6. Quand j’aurai vu le Fils du Dieu le Père, Quand j’aurai vu le Roi du ciel venu,M’en revenant de saluer sa Mère, M’en revenant tout sera différent:        Je n’aurai plus de mal, bouteselle bouteselle        Je n’aurai plus de mal, bouteselle à mon cheval! Qui a crié mettez-vous en campagne Qui a crié le fils de Dieu est né

Piano - Level 4 - Digital Download SKU: A0.1290542 By Chick Corea. By Al Jarreau, Artie Maren, Chick Corea, and Joaquin Rodrigo. Arranged by Popnroll 1976. Jazz,Latin. Score (Chords/Lyrics). 4 pages. Popnroll 1976 #881260. Published by Popnroll 1976 (A0.1290542). Spain (I Can Recall) - Al Jarreau (Vocal/Synthesizer Solo/Scat Solo)This is a lead sheet with a complete copy of the synthesizer solo and scat solo of the vocal version of Chick Corea's famous song Spain from the album This Time released in 1980 by Al Jarreau, a jazz fusion singer known for his singing percussion.PDF format, 4 pages.Lyrics：Al Jarreau, Arthur J. Maren Composer：Chick Corea, Joaquin Vidre RodrigoVocal：Al Jarreau Synthesizer & Rhodes Electric Piano：Larry Williams Bass: Abraham Laboriel Drums: Steve Gadd Produced by Jay GraydonSong Description 　This is a jazz fusion classic from Chick Corea's 1972 Return To Forever album, Light As A Feather, with lyrics by Al himself. 　The synthesizer solo was played by Larry Williams, a keyboardist and saxophonist of the fusion band Seawind, who skillfully used upper structure triad arpeggios to drive the song in a wide range. 　Al's scat solo in the latter half of the song is a highlight. It starts with a relaxed phrase, moving in a close range in the first half, and shows a sign of excitement with flutter tangling in D (a technique unique to wind instruments that makes the sound tremble by fine movements of the tongue) at the beginning of the second half. The last four bars of the song are a perfect blend of alternating scales and blue notes, folding in exquisite ups and downs, and finally resolving to B major at the end. 　In the chord progression, the second half of [B] and Gmaj7 (two beats after Dmaj7) in [E] and [M] are not Chick Corea's original, but he seems to use them in this arrangement.

Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.937491 By Celia Cruz. By Nestor Mili. Arranged by Jan Thalman. Contemporary. 24 pages. Jan Thalman #6432127. Published by Jan Thalman (A0.937491). Yerbero ModernoYerbero Moderno es una pieza compuesta por Nestor Nili, alrededor de 1950.Esta versión para cuarteto de saxofones mantiene los ritmos originales de cha-cha-chá y bolero en letra B.La improvisación del saxofón soprano en el compás 70, puede sustituirse cantando la melodía escrita en letra J. Los tumbaos tanto en la improvisación del saxofón soprano, como en letra J, pueden repetirse libremente hasta que se de una señal para continuar con la partitura.Los tumbaos son usualmente la repetición de un patrón de dos o cuatro compases interpretado por el piano, bajo o guitarra como acompañamiento y deben ser tocados con relación a la clave. En este caso, el tumbao se hace con dos saxofones.___________________Yerbero ModernoThis tune was composed by Nestor Nili around 1950. This version for a saxophone quartet keeps the original Cha-cha-chá and Bolero rhythms of the melody, at letter B. The improvisation of the soprano saxophone in measure 70 can be substituted by the singing of the lyrics at letter J.Both tumbaos, at letter J and at the solo of the soprano saxophone, can be repeated as many times as needed, until there is a signal to continue with the score.Tumbaos are usually a repetitive two or four bar rhythmic vamp played by the piano, bass or guitar and they must be played in relation to the clave. In this case, the tumbao is played using two saxophones.

Piano Solo - Level 4 - Digital Download SKU: A0.1104260 Composed by J. S. Bach, F. Haydn, W. Mozart, L. V. Beethoven, F. Chopin, C. Chaminade, et al. Arranged by Bo Kim. 19th Century,20th Century,Classical,Contemporary,Instructional. Score. 83 pages. Bo Kim #707462. Published by Bo Kim (A0.1104260). A collection of timeless piano repertoire in public domain, the entire Major and Minor keys are covered in the volume. Included are some of the most popular piano pieces as well as hidden jewels by lesser-known artists such as Chaminade, Cui, Durand, and more. Table of Contents: Divertimento in C Major, Hob. XVI:1 by F. Haydn, P.2 Für Elise in A Minor by L.V. Beethoven, P. 5 Pastoral Enfantine by C. Chaminade, P. 8 Selections in E Minor from For Children by B. Bartok, P. 12 Spinning Song in F Major by A. Ellmenreich, P. 14 The Storm in D Minor from Etudes Op. 109 by F. Burgmuller, P. 17 Gymnopedie in D Major by E. Satie, P. 19 Waltz in B Minor, D. 145 by F. Schubert, P. 23 Nocturne in Bb Major by J. Field, P. 24 Selections in G Minor from For Children by B. Bartok, P. 26 The Floating Scarf in A Major by F. Couperin, P. 28 Album Leaf in F# Minor by E. Chabrier, P. 31 Waltz in Eb Major, Op.83 by A. Durand, P. 35 Prelude in C Minor, BWV 999 by J. S. Bach, P. 42 Arabesque in E Major by C. Debussy, P. 44 Odeon in C# Minor by E. Nazareth, P. 49 Canzonetta in Ab Major by C. Cui, P. 52 Moment Musical in F Minor, D. 780 No. 3 by F. Schubert, P. 54 Prelude B Major, Op. 22, No. 3 by A. Scriabin, P. 56 The Old Castle in G # Minor from Pictures At An Exhibition by M. Mussorgsky, P. 58 Waltz in Db Major, Op. 64, No. 1 by F. Chopin, P. 62 Nocturne in Bb Minor, Op. 9, No. 1 by F. Chopin, P. 66 Klavierstück in F# Major by F. Liszt, P. 70 In Der Heimat in D# Minor, Op. 43 No. 19 by E. Grieg, P. 72 Girl With Flaxen Hair in Gb Major by C. Debussy, P. 74 Puck in Eb Minor by E. Grieg, P. 76 Prelude in C# Major from WTC I by J. S. Bach, P. 79 Etude in Ab Minor, Op. 139 No. 92 by C. Czerny, P. 81https://youtube.com/playlist?list=PL5JDypjUjmw0YyJdyz6UtWoQSzQVDVQvR.

Composed by Don Raye and Al Jacobs. Arranged by Amy J. Snyder. Country, Folk, Holiday, Patriotic. Score. 4 pages. Amy J. Snyder #644271. Published by Amy J. Snyder

Altosaxophone - difficult - Digital Download SKU: S9.Q564397 Version for alto saxophone. Composed by Joerg Widmann. Saxophone - solo - contemporary music. Downloadable, Separate edition. Duration 7 minutes. Schott Music - Digital #Q564397. Published by Schott Music - Digital (S9.Q564397). Jörg Widmann, an internationally sought-after soloist and professor of clarinet at the Freiburg Musikhochschule, displays the exquisite refinement of contemporary clarinet sound in 'Fünf Bruchstücke' (already published) for clarinet and piano (KLB 54) and in the present 'Fantasie' for solo clarinet. While noise, as a means of expression, is given much attention in 'Fünf Bruchstücke', 'Fantasie' is largely based on the usual Romantic melodious sound, though this time with ironic side trips into dance, klezmer and jazz music, the clarinet's equivalent of light music. 'Fantasie' for solo clarinet is my first real piece for my own instrument, the clarinet. With its eccentric virtuosity and its cheerful, ironic fundamental character, it reflects the experience with Stravinsky's 3 Pieces for solo clarinet of 1919 and the tonal innovations which did not appear in music before Carl Maria von Weber's notation for the clarinet, and takes them further in a new way. It is a little imaginary scene uniting the dialogues of different people in close proximity in the spirit of the commedia dell'arte. - Jörg Widmann ...on the interpretation: It would be important to take the title completely literally – which is why the performer should of course play the piece with imagination. The most important information on the structure: the complete absence of bar lines – whenever the piece is played to me by students or other persons, I am always pleased about the player's own ideas and about the fact that the musical text is taken literally and seriously, with all its dynamic and articulation marks, and yet filled with life and imagination. What I always notice, however, is that the rhythmic fast pulse part is often played like an étude, rather than with imagination. What is most important to me, personally, is to take pleasure in making tonal distinctions, even despite the strict timing. Use your imagination and enjoy playing my 'Fantasie'! - Jörg WidmannDie Bearbeitung durch Lois Alén González von Widmanns Fantasie ermöglicht es nun auch Saxophonisten, die für Klarinette komponierte Fantasie, die durch ihre starke Kontrastierung der Charakterveränderungen zu einem ausdrucksstarken Bravourstück geworden ist, spielen zu können.

By Earth Wind and Fire. By Al McKay, Maurice White, and Allee Willis. Arranged by Daniel J. Armistead. Jazz, Pop, Rock. Score and parts. 47 pages. Daniel J. Armistead #6253545. Published by Daniel J. Armistead

Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Interactive Download SKU: A0.1009418 By James Taylor. By Carole King. Arranged by J. Randolph Hall. This edition: Interactive Download. Pop,Rock. Score and parts. 18 pages. Duration 441. J. Randolph Hall #6yhgFQozluC7Uqw6H2G7FH. Published by J. Randolph Hall (A0.1009418). Key: Bb major.NYC songwriter Carole King wrote and recorded this back in the early 1970's. It is believed she wrote this song in response to James Taylor's Fire and Rain. Instead of the original DS al Fade, I chose to put in a Coda.

Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Interactive Download SKU: A0.1035167 Composed by Al Kasha and Joel Hirschhorn. Arranged by J. Randolph Hall. This edition: Interactive Download. Film/TV,Musical/Show,Pop. Score and parts. 12 pages. Duration 168. J. Randolph Hall #68NGXc47WlpkPGZ5bPABQ5. Published by J. Randolph Hall (A0.1035167). Key: F major.This was one of several numbers in Walt Disney's 1976 Pete's Dragon..

Choral Choir (3-Part) - Level 2 - Digital Download SKU: A0.1217996 By Linda Ronstadt. By Al Hoffman, Jerry Livingston, and Mack David. Arranged by Stewart J Wallace. Broadway,Film/TV,Musical/Show,Romantic Period,Standards. Octavo. 16 pages. Stewart J Wallace #814519. Published by Stewart J Wallace (A0.1217996). The melody of this song written for the Disney film Cinderella (1950) was inspired by Liszt's Transcendental Study No. 9. It's a wistful, tender melody which matches the sentiment of the words, and in the film Cinderalla encourages her animal friends to never stop dreaming or believing in a brighter future. Other Disney songs also echo this sentiment, such as When You Wish Upon A Star from Pinnochio, which was released a decade earlier. This arrangement is in 3-parts with a simple piano accompaniment. It should be sung smoothly and with sustain, and the men can enjoy taking the tune the second time through. The ending should be dramatic and bold. There are two layout versions - one with the piano accompaniment, and the other with just the vocal parts.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1198799 Composed by J. Arcadelt. Arranged by Alessandro Macrì. Christian,Classical,Early Music,Film/TV,Sacred. 10 pages. Music Macri Editions #797882. Published by Music Macri Editions (A0.1198799). Questa celebre Ave Maria risale molto probabilmente al XVI secolo ed è tradizionalmente attribuita al compositore franco-fiammingo Jacques (o Jacob) Arcadelt (1505-1568) che fu anche magister puerorum (cioè: direttore del coro delle voci bianche) e successivamente maestro del coro della Cappella Sistina in Roma. In realtà, questo brano – nella versione che noi conosciamo e con le parole del saluto angelico – fu edito per la prima volta nel 1842 da Pierre-Louis Philippe Dietsch (1808 - 1865), un oscuro e modesto compositore francese, che riprendeva la chanson profana a tre voci Nous voyons que les hommes, questa sì composta da Jacques Arcadelt per sole voci femminili ed apparsa per la prima volta a stampa nel 1554 in Tiers livre de chansons, nouvellement mises en musique à quatre, presso l’editore Le Roy & Ballard, in Parigi. La parte del basso, in particolare, è interamente lavoro di Dietsch che ne ha anche modificato l’assetto ritmico per adattarlo al nuovo testo, e ha aggiunto la cadenza plagale con la parola conclusiva Amen. Vari musicisti, in seguito, si sono cimentati sia nel modificare le linee di battuta, sia le durate di alcune note, sia la stessa divisione delle sillabe, per tentare  di correggere quello che è considerato lo stress della parola latina.