SKU: A0.800982

A Rivendell String Quartet Arrangement.  This popular standard from the groundbreaking 1927 musical Showboat is presented in a sparkling arrangement that gives everyone something to do!  Composer Jerome Kern demonstrated his musical mastery of ballad form, combining elements of blues and ragtime in this joyous showstopper.  A can't miss!

SKU: A0.1256232

Originally commissioned by the Royal Scottish National Orchestra and conductor Christopher Bell in 2015, this extended version of one of the most globally appealing Christmas songs restores all of James Lord Pierpont’s original lyrics. A vibrant, yet eminently singable SATB and SSA choir arrangement, sure to delight any festive audience. Includes an optional percussion part for extra sparkle! Backing track and SSA version also available.
For rental of the full orchestration featured in the demo, please email info@studio-orchestrations.com.

SKU: A0.1256234

Originally commissioned by the Royal Scottish National Orchestra and conductor Christopher Bell in 2015, this extended version of one of the most globally appealing Christmas songs restores all of James Lord Pierpont’s original lyrics. A vibrant, yet eminently singable SATB and SSA choir arrangement, sure to delight any festive audience. Includes an optional percussion part for extra sparkle! Backing track and SATB version also available.
For rental of the full orchestration featured in the demo, please email info@studio-orchestrations.com.

SKU: A0.1236920

Unleash the fiery spirit of your intermediate drumline with Line of Fire - an electrifying street-style beat that guarantees to set the crowd ablaze at football games and pep rallies. This captivating composition highlights snares, tenors, and basses as they channel the very essence of fire. The snares crackle and pop like sparks, the tenors resonate like glowing embers, and the thunderous rumbling of the basses provides the pulsating heartbeat of the fire. Get ready to ignite the atmosphere and leave a lasting impression with Line of Fire.

SKU: A0.1472543

This Etude was chosen as one of the saxophone audition pieces for the All-State Jazz Band. This is a ballad over the chord changes to In A Sentimental Mood. It was written for saxophone but can also be a good exercise for piano, guitar, oboe, or clarinet.

SKU: A0.1122297

The first chorus of Jerome Kern's classic is conceived to be delivered in a free-flowing, conversational ballad style. It’s chord choices cast the song in a yearny, poignant light; sung from the point of view of someone who is currently finding things hard. Looking for the silver lining as courageous moral effort rather than an act of easy optimism. It then moves into tempo to the place of joy that the lyric promises as its goal. Syncopation and interchange between the parts bring musical sparkle to express lightness of spirits. The tag returns to the original tempo and feel, revealing the joy to be a vision rather than reality, but one which provides hope: we’ll find it some day. This version of the arrangement was designed to be suitable for barbershop contest. It is notated in in treble and bass alta (i.e. sung an octave higher than written) clefs. Vocal Ranges: Tenor: F4 - F#5 Lead: A3 - D5 Bari: B3 - D5 Bass: D3 - f4.

SKU: A0.1204655

Writer-producer George Miller, the director behind the Mad Max movies, had heard about Dick King-Smith’s children’s book The Sheep-Pig and dreamed about turning it into a movie. When it came to writing the score he turned to Jerry Goldsmith, with whom he had previously collaborated on his segment of Twilight Zone: The Movie (Nightmare at 20,000 Feet). Fate however, stepped in when Jerry sent his work in progress. Miller felt that the music was too beautiful and lyrical, that it should play up the darker moments in the story. With a typically busy schedule, Goldsmith had no time available to rewrite the score, so the process of selecting a replacement began. Babe was being produced in Australia, which made communicating with LA-based composers a challenge, so six local composers were invited to audition, and Nigel Westlake was selected for the role. Westlake deftly weaves well-known classical themes such as Saint-Saens’ Organ Symphony and Delibes’ Pizzicati from the ballet Sylvia into his score, which sparkles and shines like the unprejudiced heart of the titular pig.

Created from the original manuscript, this release offers a rare opportunity to study film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!

SKU: A0.1256235

Originally commissioned by the Royal Scottish National Orchestra and conductor Christopher Bell in 2015, this version of one of the most globally appealing Christmas songs restores all of James Lord Pierpont’s original lyrics. A vibrant, yet eminently singable SATB and SSA choir arrangement (available separately) sits at the core of a sparkling Hollywood style orchestration, sure to delight any festive audience.

SKU: A0.1487194

TYPE JOHN FRIES IN THE SEARCH BAR TO SEE ALL I HAVE TO OFFER. Thanks, John. I Wished on the Moon is a song composed by Ralph Rainger, with lyrics by Dorothy Parker. Bing Crosby sang the song in The Big Broadcast of 1936. Crosby recorded the song on August 14, 1935 with The Dorsey Brothers Orchestra and it reached the charts of the day peaking at No. 2 during a seven-week stay. At the end of the long recording session, Crosby decided to sing only a single chorus of the song in the middle of an orchestral version instead of the full ballad treatment used in the film. This led to a long argument between the singer and producer Jack Kapp. Eventually Crosby prevailed. Crosby recorded the song again in 1954 for his album Bing: A Musical Autobiography.

SKU: A0.1384185

My arrangement for Wind Quintet of the popular wartime ballad 'We'll meet again', by Ross Parker & Hughie Charles.

SKU: A0.1487192

TYPE JOHN FRIES IN THE SEARCH BAR TO SEE ALL I HAVE TO OFFER. Thanks, John. I Wished on the Moon is a song composed by Ralph Rainger, with lyrics by Dorothy Parker. Bing Crosby sang the song in The Big Broadcast of 1936.
Crosby recorded the song on August 14, 1935 with The Dorsey Brothers Orchestra and it reached the charts of the day peaking at No. 2 during a seven-week stay. At the end of the long recording session, Crosby decided to sing only a single chorus of the song in the middle of an orchestral version instead of the full ballad treatment used in the film. This led to a long argument between the singer and producer Jack Kapp. Eventually Crosby prevailed. Crosby recorded the song again in 1954 for his album Bing: A Musical Autobiography.