Woodwind Quintet - Early Intermediate - Digital Download Composed by Antonio Vivaldi (1678-1741). Baroque Period, Repertoire, European, Christmas, Wedding. Score. 9 pages. Published by KrahenfuBlieder

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles KÅ“chlin in 1973.   Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles KÅ“chlin and Erik Satie, as well as numerous articles, editions and reviews.   As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.

Piano Solo - Level 4 - Digital Download SKU: A0.1373476 Composed by Asuka Ito, Carlos Rafael Rivera, David Randal Stal, and Thomas David Kramer. Arranged by PianoMusicSheets. Film/TV. Score. 3 pages. PianoMusicSheets #957843. Published by PianoMusicSheets (A0.1373476). For this transcription I was initially undecided between a 4/4 and a 12/8 time signature.The piece involves plenty of contrast between these two rhythm patterns and hence both choices are possible.The number of beats per measure also varies multiple times throughout the piece.I chose 12/8 with some changes to 9/8 and 6/8 when necessary.The fingering I provided for playing bars 8-9 and 41-42 with legato in the right hand is quite comfortable if you already play Chopin Etudes Op. 10 No. 2 (chromatic) and Op. 25 No. 6 (thirds). This product was created by a member of ArrangeMe, Hal Leonard’s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.

Piano Solo - Level 4 - Digital Download SKU: A0.1372562 By Carlos Rafael Rivera. By Carlos Rafael Rivera. Arranged by PianoMusicSheets. Film/TV. Score. 3 pages. PianoMusicSheets #956883. Published by PianoMusicSheets (A0.1372562). For this transcription I was initially undecided between a 4/4 and a 12/8 time signature. The piece involves plenty of contrast between these two rhythm patterns and hence both choices are possible. The number of beats per measure also varies multiple times throughout the piece. I chose 12/8 with some changes to 9/8 and 6/8 when necessary. The fingering I provided for playing bars 8-9 and 41-42 with legato in the right hand is quite comfortable if you already play Chopin Etudes Op. 10 No. 2 (chromatic) and Op. 25 No. 6 (thirds).

Choral Choir,Choral (5-Part) - Level 4 - Digital Download SKU: A0.1292547 Composed by Adrienne Inglis (ASCAP). 21st Century,Classical,Patriotic. 19 pages. Adrienne Inglis (ASCAP) #883097. Published by Adrienne Inglis (ASCAP) (A0.1292547). A gripping and dramatic telling of the USS Thresher disaster in 1963! Ideal for a Memorial Day or Veterans Day concertThe Other Side for SSSAA voices and vibraphone/percussionIn memory of John “Jack� Penfield Inglis (1942-1963)Composed for VAMP Vocals’ “Between the Worlds� concert September 2023Music by Adrienne Inglis (ASCAP)Text adapted from essays by Robert Penfield Inglis (1913-2007) and used with permission from Jack’s family, and communications with the USS ThresherDuration — about 5-7 minutesDifficulty 4 (Auditioned chorus)In memory of John “Jack� Penfield Inglis (1942-1963), who died in the USS Thresher disaster the day after his 21st birthday.Performances:8-9 Sep 2023 at 7 PM VAMP Vocals’ Between the Worlds concert, KMFA 89.5 Studios 41 Navasota Street Austin, TX 78702 Austin, Texas (https://www.vampvocals.com/)Dedicated to the memory of my first cousin, Jack Inglis, The Other Side is scored for treble voices and vibraphone/percussion. It grapples with the unimaginable tragedy of losing a child, the serious concerns about the fitness of the USS Thresher to leave dock for sea trials, the catastrophic implosion of the submarine that killed all 129 aboard, and the communications between Jack and his parents after the Thresher sank. I composed this piece for the five extraordinary voices of VAMP Vocals for their September 2023 concert “Between the Worlds.� The treble voices tell the story and react to the narrative over evocative vibraphone harmonies. In the middle section, the percussionist bangs loudly on metal to sound like submarine pipes, structure, and hull breaking. The loss of the USS Thresher (SSN-593) spurred the Navy to institute the very successful Submarine Safety Program (SUBSAFE). The composer encourages performers to take dramatic license to enhance the emotional impact of the tragedy and the parents’ response. Recording and video will be available soon.Composer websitehttps://adrienneinglis.com/Composer YouTube channelhttps://www.youtube.com/@adrienneinglis.

Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.943859 Composed by Jonah Koppitz. 20th Century,Contemporary. Score and parts. 1 pages. Jonah Koppitz #5748861. Published by Jonah Koppitz (A0.943859). The first thing that you should know about this piece is that it breaks nearly every rule of counterpoint that it can. To me, this composition represents the antithesis of how classical composers thought to compose. By directly contradicting the rules they follow and still creating music, it shows that stiff rule formats and limits on what makes good music are not necessary and oftentimes restrict creative composing. My only hope is that, if Johann Joseph Fux were alive today, he’d see my work as an abomination of all the rules he holds so dear.My Ruleset:1. In sixth species counterpoint (countercounterpoint/anticounterpoint), you may write as many notes as desired in your new melody for each note in the cantus firmus.2. The first note and the last note must not form either an octave, unison, or a fifth with the cantus firmus.3. The penultimate note of your melody should not be an even scale degree.4. Augmented Fourths must resolve down and Diminished Fifths must resolve up.5. You may use parallel motion very recklessly because it obscures the independence of the voices.6. The harmonic interval formed between the voices on the downbeat of every measure may not be a perfect/major consonance-unison, third, fifth, sixth or octave. Diminished, Augmented, and Minor are fine.7. The interval formed between the voices on the second beat of every measure may not be a major third or major sixth.8. The overall shape of your melody should have a single high-point, preferably as far from the middle as is reasonable.9. Except for on the first beat of a measure, Consonant intervals are only allowed if preceded by a dissonant interval on a strong beat.10. Every Chord is fair game.11. The interval between the first beat of each measure should alternate between even numbers and odd numbers.12. Leaps must prepare, leap, and resolve in the same direction and may be greater than a fifth.13. Functional Harmony is for cowards who let chords tell them what to do.

Woodwind Ensemble Clarinet - Level 5 - Digital Download SKU: A0.767258 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. 62 pages. Lyons Music Services #3121649. Published by Lyons Music Services (A0.767258). The Fifth book of madrigals starts to see much more development towards operatic style writing, with more songs being strung together to form scenas and with the addition of accompaniment on instruments. Some of these songs can be written by incorporating the accompaniment into the parts for those instruments which are resting, some will require more than a quintet. Certainly as we get into the next three books, reduction to a quintet will become increasingly more difficult, if not impossible. The final song from book 5 shows quite an advance on the previously (relatively) simple writing. Here we have a full SATB ensemble plus a quite detailed continuo. Questi vaghi (These wandering little birds) also has a more complex structure, being, by itself a scena, split into sections by ritornelli which he calls Sinfonias. At this stage, they are by no means substantial enough to be considered preludes or interludes, but merely dances between the sections of the song. Because of this added complexity, I have had to arrange the piece for a 9-part brass choir. There is some overlap and crossover between the continuo and choral parts to accommodate the different groupings needed for each section. The ritornello sections need to be played more lightly and in a skipping style to add contrast between the 'vocal sections'.

Instrumental Duet,Piano Instrumental Duet,Keyboard,Piano,Violin - Level 4 - Digital Download SKU: A0.1232342 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. 465 pages. Santino Cara #828028. Published by Santino Cara (A0.1232342). Complete scores and parts of 12 Double concertos for Two Violins and Cembalo or Piano. Composed in Venice between 1711 and 1720 by Antonio Vivaldi. Transcribed over the years by Santino Cara.12 Concertos:1.   Concerto No.3 in D major from Op.12     RV 1242.   Concerto in C major     RV 5053.   Concerto in C major     RV 5084.   Concerto in C minor     RV 5095.   Concerto in D major     RV 5116.   Concerto in D minor     RV 5147.   Concerto in G major    RV 5168.   Concerto in G minor    RV 5179.   Concerto in A major     RV 52110.Concerto in A minor     RV 52311. Concerto in B flat major RV 52912. Concerto No.9 in B flat major from “La Cetra� Op.9    RV 530Other Vivaldi's works for violin and harpsichord or piano:Vivaldi - 23 Concertos for Violin and PianoVivaldi - L'Estro Armonico Op.3 - 12 Concertos for 2 Violins and Piano - Scores and PartsVivaldi - La Stravaganza Op.4 - 12 Concertos for Violin and PianoVivaldi - Six Violin Concertos for Violin and Piano Op.6 - Scores and violin partVivaldi - 10 Violin Concertos Op.7 for Violin and Cembalo (or Piano) - Scores and PartVivaldi - Il Cimento dell'Armonia e dell'Invenzione Op.8 - 12 Concertos for Violin and PianoVivaldi - La Cetra Op.9 - 12 Concertos for Violin and Piano - Full scores and Violin partVivaldi - Six Violin Concertos Op.11 for Violin and Cembalo (or Piano) - Full scores and partVivaldi - Six Concertos for Violin and Piano Op.12 - Complete scores and Part

Piano Solo - Level 3 - Digital Download SKU: A0.1208379 By Santino Cara. By Georg Frideric Handel. Arranged by Santino Cara. Baroque. Score. 263 pages. Santino Cara #806488. Published by Santino Cara (A0.1208379). Complete scores of the 26 Piano Suites. All keyboard suites composed in London between 1720 and 1730 by George Frideric Handel. 3 volumes enclosed in a single file. Rewritten and elaborated for Piano in Rome in 2019 by Santino Cara.Volume I. “8 Great Suites�1. Suite in A major HWV 4262. Suite in F major HWV 4273. Suite in D minor HWV 4284. Suite in E minor HWV 4295. Suite in E major HWV 4306. Suite in F sharp minor HWV 4317. Suite in G minor HWV 4328. Suite in F minor HWV 433Volume II. “9 Suites or Lessons�9.   Suite No.9 in B flat major HWV 43410. Suite No.10 in G major HWV 43511. Suite No.11 in D minor HWV 43612. Suite No.12 in D minor HWV 43713. Suite No.13 in E minor HWV 43814. Suite No.14 in G minor HWV 43915. Suite No.15 in B flat major HWV 44016. Suite No.16 in G major HWV 44117. Suite No.17 in G major HWV 442Volume III. “9 Suites�18. Suite No.18 in C major HWV 44319. Suite No.19 in C minor HWV 44520. Suite No.20 in D minor HWV 44721. Suite No.21 in D minor HWV 44822. Suite No.22 in D minor HWV 44923. Suite No.23 in G minor HWV 45124. Suite No.24 in G minor HWV 45225. Suite No.25 in G minor HWV 45326. Suite No.26 in A major HWV 454.

Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. Published by Lyons Music Services (A0.767553). This brand-new piece for wind quintet came about through the coronavirus lockdown and my observations of our UK politicians and how they behaved (One rule for them...) In terms of the music, each line is related to other lines through patterns of 5, 7 or 9 beats (or half beats). Each repetition of the pattern starts with all the instruments in that particular group playing on the first beat. As the music progresses and develops, motifs appear out of the combinations of these beats with each other. Gradually, these patterns and motifs develop melodies which then form the backbone of the piece. The first section (I hesitate to use the term movement) labelled Plotting develops a character of wiliness. It represents, in its twisting strands, the plotting of politicians to aggrandise themselves. The bottom 3 parts form an 'undercurrent' to the music as the 5,7 and 9 beat counts overlap and process. The flute and oboe, meanwhile, generate the first melodic strand - which becomes important in the later movements. The opening quaver patterns are passed around the whole ensemble, keeping the rhythmic pulse going. It slips between the anchoring notes of the lower 3 parts, as well as being essential to the development of the flute and oboe melodic material and stopping the bassoon part being too boring! The long winding, rising and falling line on the oboe and flute is deliberately ambiguous in its tonality, leading one to feel it strives upwards, but then loses its way. The frequent dissonances as this line crosses itself in the other parts represents the effect of all the plotting on ordinary people. Before letter B, there are a couple of brief hints of Dies Irae, but I didn’t want that idea to dominate too much. After B and into C, we get the day-to-day chitchat in Westminster, with interjections from many voices proclaiming their message, trying to persuade their colleagues and just leading to confusion and tonal extremism. From letter C to the end of the section is an extended accel/stretto as the discussion gets more heated. Section 2 is titled Scheming. The tempo is faster than the previous section, but the pace is slower. More motives have formed and developed organically out of the rhythm and pitch patterns. The 5/7/9 cross rhythms are now at double speed, giving a fiercer drive to the music. The bassoon and horn, for now, adhere to the longer pulse of the first section, providing something of a harmonic underpinning. At bar 101, the long but now slightly broken narrative line of the first movement returns in modified form. This now provides a backdrop for the rhythmic bartering and ‘back and forth’ of the political day. The section reaches a climax as the political bickering becomes rowdier. Section 3 begins in a relatively happy mood. The bassoon has a jolly capering little motif, later taken up by other members of the ensemble. There are hints of English folk tune-ness in the resulting conversation, perhaps emphasised by the overlays of this pleasant melody from letter D. Letter E is a ‘turning point’ as all the rhythmic pulses finally align again. This is the first time all five parts have played on the same beat since the opening. At Letter G, a pulsing drone is added to the mix, using the quaver version of the pulse. Perhaps representing the soring of politicians. There is a parallel drone added at letter H, these drones use the 5 (bassoon) and 7 (horn) beat pulses. The result is a solid underpinning of the rhythmic and melodic ideas in the upper 3 parts. After letter I comes a reprise of the spritely bassoon motif with dissonant harmonies as the discussion becomes more heated. The little semiquaver figures have the rhythm Mr. Speaker as members of the house shout for attention. In the repeat bars, we hear the Speaker shout Order! Letter J provides an altered reprise of the begi.

Alto Saxophone,Drum Set,Electric Bass Guitar,Electric Guitar,Flugelhorn,Flute,Piano,Tenor Saxophone,Trumpet,Voice - Level 4 - Digital Download SKU: A0.834696 By Bruno Mars, Anderson .paak And Silk Sonic. By (brandon Paak Anderson), Anderson .paak, Brandon Paak Anderson, Bruno Mars, Chris Brody Brown, Christopher Brody Brown, and Dernst Emile. Arranged by MAJOR SCORE PUBLISHING TM. Funk,Pop,R & B,Singer/Songwriter,Soul. 72 pages. Major Score Publishing #6460861. Published by Major Score Publishing (A0.834696). Leave the Door Open (Silk Sonic)Singer(s) & 7 or 9 piece bandDesigned for maximum audience impact for high profile live performances, concerts & events, this stunning arrangement provides the backing and power of a 7 or 9 piece showband!  This chart is designed to be highly flexible to feature one vocalist singing both the Anderson PAAK & Bruno Mars parts, OR split up between two vocalists like on the SILK SONIC recording. The background vocal lines have been very tastefully and subtly arranged for the horns supporting the vocal and building the performance energy. The drums are key in this arrangement and are fully written out. The guitar part includes the palm mute falls from the recording and a full piano and bass part come highly detailed allowing for a truly authentic delivery. Also we have provided three alternate horn parts in case your showband only has 3 horns ( alto sax/flute, 1 flugel, 1 trombone) instead of 5 horns as in the 9 piece version (1 alto/flute & 1 tenor sax, 2 flugel horns & 1 trombone) in addition to the full rhythm section ( piano, guitar, bass & drums) to ensure you have the maximum support for either scenario. All parts are highly detailed and fully written out for a total of 67 pages including the full score for reference.   Great detail has been put into this chart to exceed your performers and audience's expectations to deliver a superior performance experience!

Choral SATB choir with optional percussion - Digital Download SKU: H1.C5371DP Composed by Allen Pote. Piano with Optional Percussion. General Worship, Joy, Adoration & Praise. Octavo. 12 pages. Hope Publishing - Digital #C5371DP. Published by Hope Publishing - Digital (H1.C5371DP). Psalms 95:1 - Psalms 95:2 - Psalms 95:3 - Psalms 95:4 - Psalms 95:5 - Psalms 95:6 - Psalms 95:7 - Psalms 95:8 - Psalms 95:9 - Psalms 95:10 - Psalms 95:11 - Psalms 100:1 - Psalms 100:2 - Psalms 100:3 - Psalms 100:4 - Psalms 100:5 - Ps.Original anthem Rhythmic energy characterizes this Allen Pote anthem based on Psalm 95 and 100, instructing us to make a joyful noise to God and sing! The contrast of shifting modes between minor and major tonalities, as well as a shift between rhythmic lines contrasted with legato melodic lines is a fine example of text painting, reflecting each of these familiar Psalm texts.

Concert Band - Level 4 - Digital Download SKU: A0.1339368 Composed by Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival. 85 pages. Motch Music #925059. Published by Motch Music (A0.1339368). Original work by Masakazu Yamamoto.Concerto for solo alto saxophone and small wind ensemble. Composed in 2017. It premiered at the annual concert 2017 of the Japan Wind Ensemble (Momotaro Band).This work was commissioned by Keiko Kobayashi (the chief conductor of the orchestra) and Atsushi Nishimoto (chief concertmaster and saxophone player of the orchestra) and Musica Eterna LLC. Harlequin, a popular person who entertains people. Dressed in a quirky costume, what does he think under that makeup? Even if you indulge in thought or shed tears without knowing it, you have to continue playing the clown on the stage for the expectations of the audience. The composition seems to be the relationship between an individual and society, and it also applies to the relationship between solo and the band in this work. Duration: 9', Grade 4 (band only)[Instrumentation] Flutes (2) 1st also piccolo Oboe (1) Bb Clarinets (3) 3rd also Eb Clarinet Bb Bass Clarinet (1) Eb Alto Saxophones (2) Bb Tenor Saxophone (1) Bb Trumpets (2) F Horn (1) Trombone (1) Euphonium (1) Tuba (1) Percussion (1) Claves, Snare Drum, Triangle, Shaker, Suspended Cymbal   Works For Concert Band Original Composition (Sheet Music Plus / Sheet Music Direct)Arrangement (Sheet Music Plus / Sheet Music Direct)----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english  

String Orchestra - Level 5 - Digital Download SKU: A0.1365113 Composed by Igor Korneitchouk. 20th Century,Contemporary. 68 pages. Studio at the Post #879423. Published by Studio at the Post (A0.1365113). Parts only (see A879420 for Score). Duration: 18 - 19 min., 5 ensemble parts and 5 solo parts, average 9 pp each. Description: Triptych for String Orchestra sets up three contrasting musical tableaux in as many different genres. Though this approach is often called post-modern, the composer prefers to see it as an indulgence of the many types of music he enjoys. The work opens with a free form improvisatory movement whose sour romanticism comes from its rich chromatic palette. The second movement is in many ways the opposite of the first. It is a very tightly constrained serial work where the parameters of rhythm, inflection, and dynamics, not just pitch, get a full serial workout of permutations. The third and finale movement, then can be seen as a happy medium between the two extremes of the previous movements. It's in the form of an episodic Dionysian romp that alternates between expositions of an ever more shrill theme with puckish episodes of varied quasi-ad lib solos embedded in coloristic texture. There are three movements, Chroma - The Academy - Rock.

Piano,Violin - Level 4 - Digital Download SKU: A0.844472 Composed by Cecile Chaminade. Arranged by Phil Beaman. Romantic Period,Standards. 9 pages. Phil Beaman #3408933. Published by Phil Beaman (A0.844472). Cecile Louise Chaminade (1857-1944) was a French Romantic composer and pianist. She is often overlooked as a musician yet she was the first female composer to win the Ordre National de la Legion d'Honneur, France's highest award.  In 1890 she wrote a piano piece whimsically titled La Lisonjera (The Flatterer). It is a great example of late Romantic writing for the masses with an eye to publishing.   She is lyrical, expressive, and emotional; using dynamics, wider note ranges, and chromaticism. It exhibits her trademark of being 'passionate yet virtuosic'.  I have arranged La Lisonjera for Violin and Piano, keeping all of the traditional Romantic characteristics intact. I have added greater contrast between the themes, making the A theme appassionata, and reserving her molto capriccioso for the B theme which I also slow down a bit to allow for more playfulness. It is my own interpretation of articulation and simplified virtuosic passages. The accompaniment is my own reduction to allow the solo to shine freely.The arrangement is still marked as Advanced Intermediate because I have kept it in the original Key of Gb (6 flats) which I believe adds to the character of the piece. Also because in the capriccioso section I have constant, and rapid, alternation between pizzicato and arco. (MIDI recording does note reproduce pizzicato.)This arrangement is perfect for Recital and Repertoire as a performance of the 'overheated emotions' of the late Romantic era. Enough virtuosity to show the violinist's technique. Accessible and enjoyable for all audiences.(3:30 minutes; 2 without repeat)6 page score, 3 page part