Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.841363 Composed by Felix Bartholdy Mendelssohn, Samuel Arnold, and William H. Cummings. Arranged by Michele Galvagno. Christian,Christmas,Praise & Worship,Sacred. Octavo. 18 pages. Artistic Score Engraving di Galvagno Michele #6098159. Published by Artistic Score Engraving di Galvagno Michele (A0.841363). This year's Christmas publication choice fell on a song very dear to me: Hark! The herald angels sing. The text, inspired by Luke’s Gospel (2:14), appears for the first time in a collection of Christmas carols called Hymns and Sacred Poems in 1739, jointly written by Charles Wesley (1707-1788 ) and George Whitefield (1714-1770), two of the founding members of the Methodist movement.The version we know today is the one adapted by William H. Cummings (1831-1915) from the section Vaterland, in deinen Gauen of the Festgesang zum Gutenbergfest, WoO 9, by Felix Mendelssohn-Bartholdy (1809-1847). The story, however, is more complex and articulated than that.The original version of the text, written by Wesley, bearing the title Hymn for Christmas-Day, had received only slow and solemn music for its verses, music now almost completely discarded. Also, his original opening lines were Hark! How all the welkin rings / Glory to the King of Kings .The version that has been passed to us is the result of alterations made by different hands, especially those of Whitefield, who changed the initial couplet into the one we know today.In 1840-one hundred years after the publication of Hymns and sacred Poems-Mendelssohn composed a cantata commemorating Johann Gutenberg’s invention of movable-type printing. The English musician William H. Cummings finally adapted Mendelssohn’s music around 1855 in order to fit the music to the verses and give it its present look.In this edition we propose the version that every listener expects to hear when reading the title on the programme and, immediately after, one of the few original versions that have reached us in their entirety, that is the one set to music by Samuel Arnold (1740-1802) and available today in The British Minstrel, and Musical and Literary Miscellany, vol. 3, published in 1843.The proposed instrumentations are those of the classical string quartet and the cello quartet. Both variants are very simple to perform and are certainly suitable for small string ensembles formed in musical schools. In the cello quartet version, the only relatively complex part is that of the first cello, which should be left to the teacher or to a student able to play up to the 7th position without excessive troubles.I hope this music can bring you the serenity that made me prepare it.

By Ari Pulkkinen. Arranged by Carson Yu. Individual Part, Score, Set of Parts. 22 pages. Published by Carson Music Gallery

By Ari Pulkkinen. Arranged by Carson Yu. Individual Part, Score, Set of Parts. 16 pages. Published by Carson Music Gallery

Flute, Oboe, Clarinet, Bassoon, Woodwind Quintet, Horn in F - Intermediate - Digital Download By Ari Pulkkinen. Arranged by Carson Yu. Individual Part, Score, Set of Parts. 21 pages. Published by Carson Music Gallery

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1432401 By W.B.Bradbury. By W.B.Bradbury. Arranged by Han-Ki Kim. Chamber,Christian,Classical,Religious,Sacred. 20 pages. Han-Ki Kim #1012892. Published by Han-Ki Kim (A0.1432401). One of the best-known hymns, “Jesus Loves Me,” was written by Anna Bartlett Warner (1827–1915). And , the tune was added in 1862 by William Batchelder Bradbury (1816–1868). After publication as a Hymn it became one of the most popular Christian hymns in churches around the world. Although it is a melody with a simple structure, it is especially loved by children due to its interesting progression. I quoted this beautiful melody and arranged it into a small violin concerto format.

Cello Duet Cello - Level 3 - Digital Download SKU: A0.1117347 By Alvaro Carrillo. By Alvaro Carrillo. Arranged by Vanessa Baez Menendez. 20th Century,Jazz,Latin,Multicultural,Singer/Songwriter,World. Score. 3 pages. Madeleine Duba / Watusi Dance co ltd #718909. Published by Madeleine Duba / Watusi Dance co ltd (A0.1117347). Music notes featuring Cuban 20th century Cello Duets available to print and play instantly. A wide range from 1900's - 1960's of Cuban genres like Bolero's, Cha Cha's, Danzon's and Son's, shop our newest and most popular two cellos sheet music such as Besame Mucho (1941) - Cello Duet, Quiza�s, Quiza�s, Quiza�s (1947) - Cello Duet and Frenesi (1939) - Cello Duet, Con tigo Aprendi (1967) - Cello Duet, Besame Mucho (1941) - Cello Duet, Sabor a Mi (1959) - Cello Duet and others. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sabor a Mí (Taste of Me) is a 1959 bolero by Mexican composer and singer �lvaro Carrillo. It was internationally popularized by Los Panchos, who collaborated on their rendition with Eydie Gormé in 1964.[1] Among the over 300 songs that he created, this song was considered Carrillo's biggest hit both in Mexico and internationally.[2] Since its creation, the song has been covered by several artists, including among them Mexican singer Luis Miguel, Cuban jazz pianist Bebo Valdes, k-pop boygroup EXO, and the Mexican American musicians Los Lobos.

Piano Solo - Digital Download SKU: A0.750176 Composed by Bradley Sowash. Classical,Contemporary,Wedding. Score. 4 pages. Bradley Sowash #3894247. Published by Bradley Sowash (A0.750176). New, yet familiar-sounding wedding music.Somewhat reminiscent of Pachelbel’s famous Canon in D, it's a good fit for contemporary couples who want a ceremonial character but wish to avoid the cliche of traditional wedding marches. Download includes a photocopy license authorizing you to print as many copies as required for your personal and/or institutional use.  I originally wrote this classically-influenced piece as a string quartet for my own wedding. Thirty-five years later, my oldest daughter asked me to reset it for solo piano for her wedding and so here it is! Pianistically considerate, the patterned figures feel good under the fingers. A 4-measure introduction and clearly heard sections can serve as cues for timing the bride and groom’s entrance.Built in repeats are designed to cycle as needed for longer processionals or be cut and still sound musically coherent. Chord symbols are included as a reader's safety net or to facilitate improvisation.

Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1198482 By Tony Bennett. By Douglass Cross and George Cory. Arranged by John Fries. 20th Century,Jazz,Pop,Standards. Score. 2 pages. John Fries #797624. Published by John Fries (A0.1198482). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.   I Left My Heart in San Francisco is a popular song, written in the fall of 1953 in Brooklyn, New York, with music by George Cory (1920–1978) and lyrics by Douglass Cross and best known as the signature song of Tony Bennett. In December 1961, in the famous Venetian Room at the Fairmont Hotel in San Francisco, Tony Bennett first sang I Left My Heart in San Francisco. In the audience that night were San Francisco mayor George Christopher and future mayor Joseph L. Alioto. From the 1960s through the 1980s, at San Francisco's premier supper club the Venetian Room, Bennett sang the city song.

C Instrument - Level 4 - Digital Download SKU: A0.500170 By Tony Bennett. By Douglass Cross and George Cory. Arranged by John Fries. 20th Century,Jazz,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #113354. Published by John Fries (A0.500170). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.   I Left My Heart in San Francisco is a popular song, written in the fall of 1953 in Brooklyn, New York, with music by George Cory (1920–1978) and lyrics by Douglass Cross and best known as the signature song of Tony Bennett. In December 1961, in the famous Venetian Room at the Fairmont Hotel in San Francisco, Tony Bennett first sang I Left My Heart in San Francisco. In the audience that night were San Francisco mayor George Christopher and future mayor Joseph L. Alioto. From the 1960s through the 1980s, at San Francisco's premier supper club the Venetian Room, Bennett sang the city song.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan María Solare. By Juan María Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan María Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan María Solare. By Juan María Solare. Arranged by Juan María Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan María Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan María Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan María Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here

Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Buena Vista Social Club. Arranged by Mario Stallbaumer. 9 pages. Published by Mario Stallbaumer

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197642 Composed by Juan María Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Maria Solare #796823. Published by Juan Maria Solare (A0.1197642). Juan María Solare: Piano Concerto (No. 1)PARTSPiano Concerto No. 1 - FIRST movement [score and parts]https://www.sheetmusicplus.com/title/22466227?aff_id=565049https://www.sheetmusicplus.com/title/piano-concerto-no-1-first-movement-score-and-parts-digital-sheet-music/22466227?aff_id=565049https://www.sheetmusicplus.com/22466227?aff_id=565049Piano Concerto No. 1 - SECOND movement [score and parts]https://www.sheetmusicplus.com/title/22466231?aff_id=565049Piano Concerto No. 1 - THIRD movement [score and parts]https://www.sheetmusicplus.com/title/22466233?aff_id=565049Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.1st movement - https://youtu.be/DNckBKzaWtc2nd movement - https://youtu.be/1Zy0ZbrdPJE3rd movement - https://youtu.be/dnYE9dWUEZg

Composed by Traditional song. Arranged by Keith Terrett. 20th Century, Romantic Period, World, Asian, Patriotic. Score, Set of Parts. 8 pages. Published by Casio (S0.112743). - Score,Set of Parts - 20th Century,Romantic Period,World,Asian,Patriotic - Casio