Concert Band - Level 4 - Digital Download

SKU: A0.1217259

By Jvke. By Jake Lawson and Zachary Lawson. Arranged by Matteo Sohn. Classical,Contemporary,Pop,R & B,Singer/Songwriter. Score and Parts. 94 pages. Matteo Sohn #813780. Published by Matteo Sohn (A0.1217259).

Golden Hour by JVKE-Arranged by Matteo Sohn, for Concert Band/Wind Ensemble

GOLDEN HOUR is the third release of JVKE’s debut album, “this is what____ feels like�. The original song embodies beauty as a whole, but the lyrics use that embodiment to describe the beauty of a partner the singer is falling in love with. The verse section of the song is soft but eventually thrusts the listener into a powerful chorus section. The song creates this warm summer like feeling, hence its use of major and minor 7th chords, which is very fitting for its time of release (July 15, 2022). To add to the warmth of the song, JVKE changes the pitch of the song to A=432 hertz tuning, instead of the conventional A=440 hertz tuning. Many people believe that A=432 hertz tuning decreases the listener’s heart rate and sounds more peaceful, which which perfectly fits the mood of the song. With these lyrics and musical techniques combined, GOLDEN HOUR gives the listener an amazing and moving experience, and is why it is one of the most viral songs on the internet.  

This song was chosen to be arranged for the Scarsdale High School Honors Wind Ensemble because of its popularity among teenage students, as well as to welcome the new director of bands, Mr. Brian Zeller. A new band director marks a new “golden hour�, or chapter of life for both the students and the director, with new thrilling musical experiences to learn from.

String Quartet String Quartet - Level 3 - Digital Download

SKU: A0.793602

By The Beatles. By John Lennon and Paul McCartney. Arranged by Brian Hardy, Bacchus Quartet. Rock. Score and parts. 6 pages. Brian Hardy #6616111. Published by Brian Hardy (A0.793602).

Written by Paul McCartney for the 'Abbey Road' album of 1969.
It is inspired by a song from his youth, 'Cradle Song'

For more Bacchus Quartet arrangements visit - sheetmusicplus.com/publishers/bacchusquartet/5331.

Level 3 - Digital Download

SKU: A0.726242

By The Stranglers. By Brian Duffy, David Greenfield, Hugh Cornwell, and Jean Burnel. Arranged by Andee Birkett. Pop,Rock,Wedding. 9 pages. Andee Birkett #334522. Published by Andee Birkett (A0.726242).

An arrangement of Golden Brown by The Stranglers for Brass Quintet. Suitable for intermediate level students and corporate ensembles.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download

SKU: A0.911784

By The Stranglers. By Brian Duffy, David Greenfield, Hugh Cornwell, and Jean Burnel. Arranged by Tom Strauch. Celtic,Contemporary,Folk,Irish,Multicultural,Pop,World. Score and parts. 21 pages. Purple Pedagogy Publishing #517740. Published by Purple Pedagogy Publishing (A0.911784).

Arranged for string quartet, made the key easier, rhythms are tricky, so not for beginners. Great underrated song from the early 80s. Good for prelude in weddings or fun reception song.

Large Ensemble B-Flat Trumpet,Drums,E-Flat Alto Saxophone,E-Flat Baritone Saxophone,Electric Bass Guitar,Electric Guitar,Keyboard,Medium-High Voice,Tenor Saxophone,Trombone - Level 3 - Digital Download

SKU: A0.1132461

By The Stranglers. By Brian Duffy, David Greenfield, Hugh Cornwell, and Jean Burnel. Arranged by Zeller-Elsässer Dieter. Pop. Score and parts. 11 pages. Ndm-Noten #732669. Published by Ndm-Noten (A0.1132461).

Tutti-Arrangement.

Choral Choir (Mixed) - Level 4 - Digital Download

SKU: A0.936180

By The Stranglers. By Brian Duffy, David Greenfield, Hugh Cornwell, and Jean Burnel. Arranged by Erin Murphy. A Cappella. Octavo. 7 pages. Erin Murphy #5310639. Published by Erin Murphy (A0.936180).

8 part a capella arrangement.

String Ensemble,String Trio Cello,Viola,Violin - Level 4 - Digital Download

SKU: A0.776746

By The Stranglers. By Brian Duffy, David Greenfield, Hugh Cornwell, and Jean Burnel. Arranged by Kirsten Jenson. Contemporary. Score and parts. 25 pages. Kirsten Jenson #6329891. Published by Kirsten Jenson (A0.776746).

True to the original song length

Piano Solo - Level 4 - Digital Download

SKU: A0.1228332

By The Stranglers. By Brian Duffy, David Greenfield, Hugh Cornwell, and Jean Burnel. Arranged by G. Tiago. Baroque. Score. 3 pages. GTiago #824451. Published by GTiago (A0.1228332).

Dulcimer,Instrumental Solo - Level 3 - Digital Download

SKU: A0.1217335

By The Stranglers. By Brian Duffy, David Greenfield, Hugh Cornwell, and Jean Burnel. Arranged by Gillian McCoy. 20th Century,Folk,Multicultural,Pop,Rock,World. Individual part. 3 pages. Dulcimer Gillian #813879. Published by Dulcimer Gillian (A0.1217335).

For Mountain Dulcimer, tab.

By The Stranglers. By Brian Duffy, David Greenfield, Hugh Cornwell, and Jean Burnel. Arranged by Phil Berthoud. Contemporary. Score and parts. 22 pages. Berthoud Music #5733691. Published by Berthoud Music

String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download

SKU: A0.776744

By The Stranglers. By Brian Duffy, David Greenfield, Hugh Cornwell, and Jean Burnel. Arranged by Kirsten Jenson. Contemporary. Score and parts. 24 pages. Kirsten Jenson #6327887. Published by Kirsten Jenson (A0.776744).

True to the original song length.

Piano Solo - Level 5 - Digital Download

SKU: A0.1189809

By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden #789404. Published by Brian Golden (A0.1189809).

Prelude 2 in A Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden 

   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.
    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.
    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 5 - Digital Download

SKU: A0.1248571

By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843062. Published by Brian Golden (A0.1248571).

Prelude 13 in F# Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden

   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.
    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.
    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 5 - Digital Download

SKU: A0.1191080

By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden #790596. Published by Brian Golden (A0.1191080).

Prelude 4 in D Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden

   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.
    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.
    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 4 - Digital Download

SKU: A0.1248570

By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #843063. Published by Brian Golden (A0.1248570).

Prelude 14 in D# Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden

   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.
    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.
    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.