French Horn,Piano - Level 4 - Digital Download SKU: A0.738315 Composed by Nicolo Paganini. Arranged by Fiona Hickie. Blues,Celtic,Classical,Folk,Irish,Romantic Period. Score and part. 14 pages. Fiona Alice Hickie #6477451. Published by Fiona Alice Hickie (A0.738315). Variations on a Theme by Niccolo Paganini arranged for French Horn and Piano by Fiona Hickie with a few new variations. It incudes Theme – Caprice No. 24 (Paganini/Leopold Auer) Variation 1 - Triplet (Paganini/Leopold Auer) Variation 2 - Semiquaver (Paganini/Leopold Auer) Variation 3 – Swing (Fiona Hickie) Variation 4 – Jazz Waltz (Fiona Hickie) Variation 5 – Hornpipe (Fiona Hickie) Variation 6 - Theme (Paganini/Fiona Hickie) Arranged Fiona Hickie (2021)  

Flute,Piano - Level 4 - Digital Download SKU: A0.737971 Composed by Nicolo Paganini. Arranged by Fiona Hickie. Celtic,Classical,Folk,Irish,Jazz,Romantic Period. Score and part. 19 pages. Fiona Alice Hickie #3619323. Published by Fiona Alice Hickie (A0.737971). A theme and variations on a theme by Paganini. Here it has 3 traditional variations plus 3 modern ones.Theme – Caprice No. 24 (Paganini/Leopold Auer), Variation 1 - Semiquaver (Paganini/Leopold Auer), Variation 2 - Triplet (Paganini/Leopold Auer), Variation 3 – Swing (Fiona Hickie), Variation 4 – Jazz Waltz (Fiona Hickie), Variation 5 – Hornpipe (Fiona Hickie), Variation 6 - Theme (Paganini/Fiona Hickie)

Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799606 Composed by Ruggiero Leoncavallo. Arranged by Nicole Elyse DiPaolo. Romantic Period. 6 pages. Nicole Elyse DiPaolo #3420731. Published by Nicole Elyse DiPaolo (A0.799606). The first of its kind, and the seventh entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and slightly simplified piano/vocal reduction of Stridono lassù, Nedda's famous aria from Leoncavallo's Pagliacci. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic, poorly notated, and technically demanding vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play the harp lines that nobody can hear anyway!All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1303524 By Richard Wagner. By Richard Wagner. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 5 pages. Nicole Elyse DiPaolo #893099. Published by Nicole Elyse DiPaolo (A0.1303524). The first of its kind, this is a genuinely playable piano/vocal reduction of O Sachs! Mein Freund!, Eva's aria from Richard Wagner's Die Meistersinger von Nurnberg. Dramatic sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist is unlikely to know this aria and may become rattled by the chaotic piano reductions in the currently available vocal scores. Pianists with limited practice time may now enjoy playing this aria comfortably as well. Because vocal line/orchestral doublings are characteristic of Wagner, those have been preserved in this edition. All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged� with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim� accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß� with “ss� in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.

Alto Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799612 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 6 pages. Nicole Elyse DiPaolo #5022023. Published by Nicole Elyse DiPaolo (A0.799612). The first of its kind, and the third entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Wie Du warst, Octavian's famous aria from Strauss's Der Rosenkavalier (1911). Mezzos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury. This edition also includes a two-measure recomposed ending four measures after rehearsal 25, making this edition a great choice for concert and audition situations in which another singer isn't available to sing the Marschallin's lines.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

B-Flat Trumpet Solo - Level 4 - Digital Download SKU: A0.800679 Composed by Court Mast. Contemporary,Contest,Festival,Instructional,Latin,Pop. Individual part. 2 pages. Court Mast #2020643. Published by Court Mast (A0.800679). Pepito is a brisk Mexican mariachi polka in E-flat concert (F major for trumpet). The pretty melody from the Theme is kicked up a notch on the Variation, with double-tongue passages and some trills for good measure. Tricky and challenging for a high school or college trumpeter, but well worth the effort. Good, bright fun.

Small Ensemble Guitar,High Voice,Medium Voice - Level 4 - Digital Download SKU: A0.993070 Composed by F. Erkel, Giacomo Puccini, M. Vihula, and Richard Wagner. Arranged by Vihula Mihajlo. Contemporary,Opera,Romantic Period. Score and parts. 14 pages. Mihajlo Vihula #4838751. Published by Mihajlo Vihula (A0.993070). This score include four well-known opera arias by Puccini, Wagner, Vihula and Erkel. The arias in this book on various language: german, italian, hungarian. Every arrangements was tried on concert stages.  .

Chamber Orchestra - Level 4 - Digital Download SKU: A0.597237 By Johann Sebastian Bach. By Johann Sebastian Bach. Arranged by Flávio Régis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and parts. 21 pages. Flavio Regis Cunha #4603489. Published by Flavio Regis Cunha (A0.597237). The St Matthew Passion (German: Matthäus-Passion), BWV 244, is a Passion, a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander. It sets chapters 26 and 27 of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini nostri J.C. secundum Evangelistam Matthæum translates to The Passion of our Lord Jesus Christ according to the Evangelist Matthew Originally for alto voice, violin solo and string orchestra. The arias are in da capo format (ternary form). Erbarme dich, for alto, and Mache dich, mein Herze, rein, for bass, are examples of such arias in Part Two of the oratorio. In these movements the singers are accompanied by one or a few solo instruments and continuo, occasionally completed by other instrument groups of the orchestra.This Aria was originally composed by J.S. Bach for Violin Solo, strings and alto solo was now arranged for Flute (optional recorder), oboe d'Amore and strings. The flute replaces the solo violin very well, just as the oboe d'Amore's sonority fits wonderfully well by replacing the traditional contralto solo.Flavio Regis Cunha is a pianist, conductor and composer from São Paulo - Brasil. He is currently finishing his doctorate at Mackenzie Presbyterian University where he works as conductor of the Mackenzie University Orchestra and resident composer. For more arrangements like this, works by commission or for any questions you can contact Flavio Regis Cunha at his facebook page: https://www.facebook.com/flavioregiscunhaIntermediate Level Fomat: Concert 9 x 12 inches. 21 pages.

Piano Solo - Level 5 - Digital Download SKU: A0.905763 Composed by Traditional. Arranged by Jerremy Fender. 20th Century,Folk. Score. 9 pages. Jerremy Fender #6351705. Published by Jerremy Fender (A0.905763). This simple melody is put through about 10 variations.  This gets hard fast.  Approach with caution.Theme: in 3/4, Variation 1; Melody in LH with harmony in RH, Variation 2; in slow 4/4, Variation 3; in faster 4/4 with changing harmony, Variation 4; in alternating 4/4 and 3/4, Variation 5; changing harmony again, Variation 6; mixed meters, Variation 7; mixed meter with jazz level harmony, Variation 8; 16th note left hand arpeggios, Variation 9; 32nd note left hand larger arpeggios, Coda.

Organ - Level 4 - Digital Download SKU: A0.1366923 Composed by John Burkett. Arranged by John Burkett. Classical,Contemporary,Praise & Worship,Sacred. Score. 16 pages. John Burkett #951258. Published by John Burkett (A0.1366923). My Variations on St. Christopher (Beneath the Cross of Jesus) require a wide range of technical prowess from relatively easy (Variation II) to advanced (Variation VII).  The Theme presents the unadorned hymn tune with an original 4-part harmonization.  Variation I is another 4-part setting but with a more rhythmically active acompaniment in the lower voices.  Variation II, a duo for the hands alone, is in the dominant key where the tune is accompanied by an unrelenting stream of triplets.  Variation III is a 3-voice canon in which the tenor and pedal bass imitate the soprano, though with a certain amount of intervallic freedom.  Variation IV is a trio in which the middle voice presents an ornamented version of the hymn tune.  Variation V is a brief fughetta, while Variation VI presents the tune in the pedals against quietly undulating triplets in the hands.  The final variation (entitled Introduction and Fugal Fantasy) is by far the most challenging and employs considerable chromaticism toward the end.  I have provided a full-length recording to aid the prospective buyer in the decision-making process.  I encourage you to search the Sheet Music Plus or the Sheet Music Direct website for other hymn arrangememts of mine, some for organ and others for piano.

B-Flat Clarinet,Bass Clarinet,Piano - Level 1 - Digital Download SKU: A0.812174 Composed by Pyotr Tchaikovsky. Arranged by Erin Miesner. 19th Century,Classical,Contest,Festival,Opera,Romantic Period. Score and part. 10 pages. Erin Miesner #5734131. Published by Erin Miesner (A0.812174). These two arias from the opera, Eugene Onegin, by Pyotr Tchaikovsky are a delightful option for your high school competition solo, or the perfect complement to your next recital program. Taken from Acts 2 and 3, this piece features an aria sung by Triquet, a French tutor to Tatyana and an aria sung by Prince Gremin, Tatyana’s husband and rival of the titular character for her affections. Solo and Ensemble tried and tested (top marks!)Includes Score (5 pgs.) and Bass Clarinet in B-Flat Part (with optional Clarinet in B-Flat part on Prince Gremin’s Aria)For more information and other arrangements, visit www.ehmpublishing.com.

Piano Solo - Level 5 - Digital Download SKU: A0.996522 Composed by James Mayhew. Classical,Contemporary,Romantic Period. Score. 7 pages. James Mayhew #6234441. Published by James Mayhew (A0.996522). This is a set of 8 variations on a theme in C major, which begin as Classical sounding variations on the Mozartian theme, Nos 1 and 2 of which sound quite like short Czerny studies, before a variation of many repeated notes embedded in broken chord figurations, until a frantic ending disrupts the traditional Classical harmony with plenty of chromaticism and a slightly bluesy ending. The next variation is in 12/8 with a lilting feel, while the 6th variations is a C minor one which begins in a stately march feel before merging into freer, slightly jazzier material. Variation 7 returns to C major for a jolly outburst while the finale that is Variation 8 pours cascades of chords and gymnastical passages all over the place (including a black-key octave glissando in the right hand with a white-key gliss in the left at the same time), with an unexpected ending.

Piano Solo - Level 3 - Digital Download SKU: A0.1319041 By Chiao-Han Liao. By German children song. Arranged by Diau-Hua Lim 林肇�. Chamber,Children,Classical,Traditional. Score. 8 pages. Diau-Hua Lim ,林肇� ,故鄉�曲樂譜 ,Homeland Famous Music Scores #907637. Published by Diau-Hua Lim ,林肇� ,故鄉�曲樂譜 ,Homeland Famous Music Scores (A0.1319041). The piano piece, VARIATIONS ON A THEME OF HÄNSCHEN KLEIN for piano solo,is based on the melodic elements of German children song, Hänschen klein.It was arranged for piano variations by Diau-Hua Lim in 2010. The children song is also known as Lightly Row in the States,The Butterfly in Japan and The Working Bee in Taiwan. The highly praised first performance of the piano piece was performed by the famous pianist Chiao-Han Liao at National Concert Hall in Taipei in 2010.There are four variations in the piece.In the first variation, the melody is performed by the left hand while the counter melody of tripletsis is played by the right hand.By changing the music to minor key,the second variation shows a mood of sentiment.The abunt harmony and chromatic descending passage create a fantastic feeling in the third variation.The fourth variation spreads cheerfulness with a speedy tempo.

Piano Solo - Level 4 - Digital Download SKU: A0.499760 Composed by S. G. Potts. 20th Century,Contemporary,Romantic Period,Standards. Score. 18 pages. S. G. Potts #3512109. Published by S. G. Potts (A0.499760). The Raymond Variations for Piano (Set 1),  received its world premiere on 2nd December 2015 at the 1901 Arts Club London,  performed by Lorraine Womack-Banning as part of a memorial tribute concert to  her late husband Raymond Banning (former professor of pianoforte at Trinity  College London). The Variations  are based on the three Andantino themes which form a central part of the ‘Raymond  Overture’ written in 1851 by French composer Ambroise Thomas: 1811-1896. There are nine piano variations in total; these include a  mix of both full and short partial variations (including a very short  declamatory two chord introductory variation). The variations are not numbered  or set-apart in a conventional manner, rather they form part of a continuous  whole, and are separated only by bridge passages and/or cadence points; they last  a little under eight minutes in duration, and strongly exploit the passionate  elements of Thomas’s themes. They have been written for the most part in an  accessible tonal style (with a passing nod to Messrs. Beethoven and J.S. Bach) and  are based predominately in the home key of D minor, but they do also take  advantage of many 20th and 21st century harmonic techniques where deemed appropriate: e.g. added note chords; cluster chords; percussive chords, and melodic  deflection. In particular, the interval of the major 7th and its enharmonic  equivalent(s) (the most distinctive interval in the main andantino theme from   the overture) is heard in various different guises throughout the variations:  this includes its inversion the minor 2nd which has a very distinctive sharp  dissonant quality. Much play is made of these intervals – to somewhat humorous  effect in variation 8 (the joker in the pack) heard some three quarters into  the set, here the dissonant interval is pounded out double forte before hastily  leading into some boisterous cluster harmonic instability; then quietly begins  variation 9 which duly brings the set to a close. Look out for the sting in the tail!