Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 2 - Digital Download SKU: A0.1291975 Composed by Grant Horsley. Christmas,Classical,Film/TV,Holiday,Standards. 22 pages. Grant Horsley #882595. Published by Grant Horsley (A0.1291975). Christmas Waltz is a short gentle waltz for Clarinet choir scored for E flat Clarinet, 3 B flat Clarinets, Alto and Bass Clarinet. I wanted this piece to convey the feeling of the shared warmth of having family and friends meeting over the festive season when everything is done, and now it’s time to enjoy! Written in Concert E flat major the introduction begins with a bell- like Christmas chime settling into the main theme which is almost like a verse and chorus. The piece has two of these sections with a link between the two. The second section is a different treatment to the first as some of the bell like figurations of the opening are incorporated. There is also a mix of staccato and legato phrasing to give contrast. The Chorus part is repeated before a short quiet reflective ending. The range is two octaves at most and there is nothing more complicated than an eighth note- hence it has been set in early intermediate level. The whole piece is on the youtube link for you to assess suitability. Ideal to be added to a Christmas concert list! It is 3 minutes 15 in length.Price is for score and all parts.

Tenor Saxophone Solo - Level 4 - Digital Download SKU: A0.839331 By Otis Redding. By Harry Woods, Jimmy Campbell, and Reg Connelly. Arranged by Bobby Hesch. Soul. Individual part. 3 pages. Bobby Hesch #5720593. Published by Bobby Hesch (A0.839331). ***TRY A LITTLE TENDERNESS***!!! WRITTEN IN 1932!!! GREAT THEN!!! STILL GREAT NOW!!!  RECORDED BY MICHAEL BUBLE!!! WHEN SHE GETS WEARY, TRY A LITTLE TENDERNESS!!! LET'S PLAY SOME JAZZ! KEY OF E!!LOW E - HIGH G!! 53 TO END MAY PLAY 8VA!!!  NOTES ARE A ROAD MAP, ADD EXPRESSION TO ADD ALL OF THE RUNS & JAZZ LICKS TO THE GREAT MELODY!!!  LOTS OF COURTESY ACCIDENTALS!!! CHECK OUT THE MP3 FOR JAZZ STYLE & INTERPRETATION!!! CONTACT INFORMATION:bobbyhesch@yahoo.com

Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Download SKU: A0.747086 By Randy Travis. By Roger Miller. Arranged by Keith Terrett. Contemporary. 27 pages. Keith Terrett #6426723. Published by Keith Terrett (A0.747086). An arrangement of the classic King of the Road for Wind Dectet.King of the Road is a song written by country singer Roger Miller, who first recorded it in November 1964. The lyrics tell of the day-to-day life of a hobo who, despite being poor (a man of means by no means), revels in his freedom, describing himself humorously and cynically as the king of the road. It was Miller's fifth single for Smash Records. The popular crossover record hit No. 1 on the US Country chart, No. 4 on the Billboard Hot 100, and No. 1 on the Easy Listening surveys. It was also No. 1 in the UK Singles Chart, and in Norway. Miller recalled that the song was inspired when he was driving and saw a sign on the side of a barn that read, Trailers for sale or rent. This would become the opening line of the song.The song has been covered by many other artists, including George Jones, Dean Martin, Val Doonican, Jack Jones, James Booker, The Fabulous Echoes, Boney M., R.E.M., Johnny Paycheck, Glen Campbell, Alvin and the Chipmunks, Boxcar Willie, Randy Travis, Rangers, James Kilbane, John Stevens, the Statler Brothers, Rufus Wainwright & Teddy Thompson, Giant Sand, Peligro, John Williamson (singer) & Adam Harvey, The Proclaimers, Ray Conniff Singers, The Reverend Horton Heat, Jerry Lee Lewis, and Jim White. James The King Brown (an Elvis impersonator) performed the song for a 2001 Audi commercial on German TV. Of R.E.M.'s version, a shambolic, drunken, offhand rendering, guitarist Peter Buck would later comment, If there was any justice in the world, Roger Miller should be able to sue for what we did to this song.King of the Road was performed live by Merle Haggard, Willie Nelson, Marty Stuart, Dwight Yoakam and Dolly Parton during Miller's posthumous induction into the Country Music Hall of Fame at the 1995 CMA Awards ceremony.The song appears in Wim Wenders's 1976 film Im Lauf der Zeit (In the Course of Time; English title Kings of the Road). It is also played at the beginning of Talladega Nights: The Ballad of Ricky Bobby, Brokeback Mountain, Into the Wild (2007), Traveller (1997), and Swingers (1996). Miller performs it in the concert film The Big T.N.T. Show. The Proclaimers' version is included in the film The Crossing (1990). Near the end of their official music video, the pair are shown reading a newspaper whose headline is Roger Miller, King of Plugs.Miller's recording appears in an episode of the Super Dave TV show, where Super Dave Osborne (Bob Einstein) sings along while sitting at a piano mounted on top of his tour bus. The bus eventually goes into a low tunnel, slamming into the piano and Osborne and pushing them off the bus and onto the ground.A send-up version by English entertainer Billy Howard was a British chart hit in 1976.A German take by the band Wise Guys exists, the parody referring to speeding on the Autobahn.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1025435 Composed by Samuel Warren Hatch. 20th Century,Contemporary,Jazz. Score. 9 pages. Samuel Warren Hatch #4764165. Published by Samuel Warren Hatch (A0.1025435). Piano Sonata No. 1 in E Major is the first series of concert piano works by S. Warren Hatch, written during his undergraduate study at Campbell University. Each movement is distinct, in that each of them is composed in a different form, utilizes different key changes and scales, and takes influence from a different period in classical music. While there is no theme that connects them to one another, they are all in the key of E Major and consist mostly of a waltz-like feeling. III. A Reflection of Passing depicts the shifting aspects about death as a person matures. It’s a piece that came from a time of great loss and much grieving. It begins with an innocent, hopeful understanding of death, followed by a major tone shift, where there is an odd utilization of the piano: the performer sings into the piano while holding down the sustain pedal, which vibrates certain overtones, producing what sounds like a distant choir. The piece closes with a triumphant, hopeful melody, borrowed from a song written by S. Warren Hatch when he was in high school.Composer Notes- Be sure to ensure that the stage hands lift the piano lid before the sonata’s start, as the strings will need to be exposed in order for you to sing into the piano’s body during A Reflection of Passing. For that section (page 22) you will need to face and sing directly into the strings while holding down the sustain pedal for the entire page. If you are playing with the sheet music (don’t worry, I’m not shaming you) simply slide the music holder in order to expose the part of the strings that are closest to you. For this sonata, I encourage you to find your own voice in these pieces. Your own interpretation should align with how you most relate to the message/story they’re telling. This could be using the una corda (leftmost) pedal during lighter sections to further differentiate them, or having a heavier rubato to strengthen the impact of certain phrases. As long as you bring these pieces to life, then it has my stamp of approval.

Piano Solo - Level 1 - Digital Download SKU: A0.1025432 Composed by Samuel Warren Hatch. 20th Century,Contemporary. Score. 5 pages. Samuel Warren Hatch #4764151. Published by Samuel Warren Hatch (A0.1025432). Piano Sonata No. 1 in E Major is the first series of concert piano works by S. Warren Hatch, written during his undergraduate study at Campbell University. Each movement is distinct, in that each of them is composed in a different form, utilizes different key changes and scales, and takes influence from a different period in classical music. While there is no theme that connects them to one another, they are all in the key of E Major and consist mostly of a waltz-like feeling. II. A Saunter is a piano work based on the thoughts/feelings gained from a somber walk through a beautiful city. It embraces the duality of the abstract and the concrete, mirroring how a walk can be one admiring his/her surroundings and reflecting on life’s sufferings, simultaneously.

Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.826985 Composed by Rich Campbell. A Cappella,Contemporary. Octavo. 8 pages. Pay The Band Music #2031155. Published by Pay The Band Music (A0.826985). Text by Pulitzer Prize winning American poet Sara Teasdale (1884-1933). A pensive, reflective, universal coming of age theme; perhaps written with WW I in mind; it rings as true today with our current wars. The poem's optimism doesn't fully resonate until the last verse, indeed the last line. The music develops from the melody in the first verse, heard in sixths, in Em, around a pedal tone: the constancy of the heavens. The melody is heard again, but this time simultaneously inverted. When the stars are mentioned, we move from minor to major. In the 3rd verse, about the innocence of childhood, all voices move together into three-part harmony in major keys (with a subtle key shift in the third line). The last verse includes the lyric All things are changed, save in the east.. It begins with all voices singing the inverted melody in harmony; it goes from E major, to G major, and concludes with the melody un-inverted, in E major.

Piano and voice - Digital Download SKU: LV.7077 Composed by Alfred E. Aarons & Julian Edwards. Dancers, Portraits, Caricatures, Aged persons, Inventions, Single women, Bachelors, Courtship, Kissing, Marriage. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.7077). A Little Girl Like Me. Book & Lyrics by Chas. J. Campbell & Ralph M. Skinner. Music by Alfred E. Aarons & Julian Edwards. Published 1905 by M. Witmark & Sons in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Dancers, Portraits, Caricatures, Aged persons, Inventions, Single women, Bachelors, Courtship, Kissing, Marriage. First line reads When a little girl is old enough to marry.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

Piano Solo - Level 3 - Digital Download SKU: A0.1025433 Composed by Samuel Warren Hatch. 20th Century,Contemporary,Romantic Period. Score. 6 pages. Samuel Warren Hatch #4764139. Published by Samuel Warren Hatch (A0.1025433). Piano Sonata No. 1 in E Major is the first series of concert piano works by S. Warren Hatch, written during his undergraduate study at Campbell University. Each movement is distinct, in that each of them is composed in a different form, utilizes different key changes and scales, and takes influence from a different period in classical music. While there is no theme that connects them to one another, they are all in the key of E Major and consist mostly of a waltz-like feeling. I. Remembrance of a Dream is the first movement, characterised by its sonata form and distinct, contrasting sections. The piece paints a story of dancing lovers before they are forced to give their final goodbyes.

Woodwind Ensemble,Woodwind Quartet Flute - Level 2 - Digital Download SKU: A0.1032571 By Rosalia. By Anton Alvarez Alfaro, Diaz-Reixa Diaz Pablo, Joan Albert Amargos, Joan Amargos, Justin Timberlake, Leticia Sala Bufill, Luis Garcia Olles, Pablo Diaz, Pablo Diaz Reixa, Rosalia Vila Tobella, Scott Spencer Storch, Timothy Mosley, Timothy Z. Mosley, and etc. Arranged by E. Candelo. Contemporary. 8 pages. E. Candelo #4993565. Published by E. Candelo (A0.1032571).

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.

Horn,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.931243 Composed by G. F. Händel. Arranged by Alessandro Macrì. Baroque,Film/TV,Instructional. 21 pages. Music Macri Editions #5751081. Published by Music Macri Editions (A0.931243). La Sarabanda, appartenente alla Suite per clavicembalo in Re minore numero 11 (HWV 437), è uno dei brani musicali più belli e famosi di Georg Friedrich Händel, musicista tedesco tra i più illustri del periodo barocco. Il IV movimento della Suite handeliana fu conosciuto dal grande pubblico quando il compositore statunitense Leonard Rosenman (1924-2008) lo riarrangiò inserendo nell'esecuzione archi e timpani; in tal guisa fu inserito da Stanley Kubrick nel suo capolavoro cinematografico Barry Lyndon (1975). Qui lo si può ascoltare nei momenti più emozionanti e trascinanti, dove assume un ruolo determinante, trasmettendo alle scene un'atmosfera di un fascino incredibile. Probabilmente Händel, quando compose questa indimenticabile melodia (scritta tra il 1703 ed il 1706), s'ispirò ad un'opera strumentale di Arcangelo Corelli: La Follia, ovvero una sonata (con variazioni sull'omonimo tema) inserita quale ultima dell'Op. 12 (1900) del musicista italiano. Per la stesura del brano citato, Corelli aveva preso a sua volta spunto da un tema musicale portoghese di origine popolare, nato tra il XVI ed il XVII secolo.

String Orchestra - Level 2 - Digital Download SKU: A0.809939 Composed by Arabella K. Hankey, William G. Fischer. Arranged by Robert E. Proctor. Christian,Contemporary,Sacred. Score and parts. 25 pages. R. E. Proctor #6597255. Published by R. E. Proctor (A0.809939). An arrangement of this hymn as a theme and variation for string quintet or string orchestra.  Principal key is Ab major (A minor and F minor).  Various string techniques are used including a col legno passage for the inner string parts (violin 2, viola, cello).  Duration is 5:27.  

SATB choir, soloist, flute - Moderately Difficult - Digital Download SKU: MQ.50-0036-E Composed by David L. Mennicke. Advent, Christmas, Lent, Lessons and Carols. 11 pages. MorningStar Music Publishers - Digital Sheet Music #50-0036-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-0036-E). This traditional English carol connects the fall of Adam and Eve in the Garden of Eden to Christ's gracious Incarnation and sacrificial redemption. The variations in the refrain text can make the piece appropriate for Lent, Advent, and Christmas Eve. The arrangement is a crescendo of dynamics, rhythm, and texture. For stanza one, the simplicity of solos reflects the innocence of the Garden. In stanza two, the weaving dissonances of the women look and sound like a squirming, devious serpent followed by the men's outburst of rebellious transgression. Stanza three expands into ever-richer layers of God's mercy, giving way to the jubilant flute in the last refrain. This is our joyful response to God's love: to accept the holy life made possible by God's grace, ending on a major chord that looks up to heaven.

Accordion,Arco Bass,Cello,Piano,Viola,Violin,Voice - Level 3 - Digital Download SKU: A0.1379390 By Carlos Gardel. By Carlos Gardel and Marcel Lattes. Arranged by Alexis Galfre. Multicultural,World. 38 pages. Alexis Galfre #964073. Published by Alexis Galfre (A0.1379390). Arrangement for strings, piano, bandoneon and singer (or solo instrument) of this beautiful music by C. Gardel and M. Lattes, with text by M. Battistella and A. Le Pera. This work is one of those that makes up the tribute concert to Carlos Gardel. Arreglo para cuerdas, piano, bandoneón y cantante (o instrumento solista) de esta hermosa música de C. Gardel y M. Lattes, con texto de M. Battistella y A. Le Pera. Esta es una de las obras que intregra el concierto homenaje a Carlos Gardel.Arrangiamento per archi, pianoforte, bandoneon e cantante (o strumento solista) di questa bellissima musica di C. Gardel e M. Lattes, con testo di M. Battistella e A. Le Pera. Questo lavoro è uno di quelli che compongono il concerto tributo a Carlos Gardel.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1401614 Composed by Joseph Lamb. Arranged by F. Leslie Smith. 20th Century,Classical,Historic,Ragtime. 32 pages. Sweetwater Brass Press #984793. Published by Sweetwater Brass Press (A0.1401614). Ragtime was originally and primarily piano music.  The Library of Congress traces the origin and wellspring of ragtime to St. Louis, Missouri.  The Britannica website explains, “Ragtime evolved in the playing of honky-tonk pianists along the Mississippi and Missouri rivers in the last decades of the 19th century. It was influenced by minstrel-show songs, African American banjo styles, and syncopated (off-beat) dance rhythms of the cakewalk, and also elements of European music.�     But it wasn’t until the mid-1890s, when music publishers started printing ragtime scores, making the music available to the public at large, that ragtime’s popularity began to soar.  By 1900 ragtime was the popular music.  It stayed that way until about 1917 when the rise of jazz began to overtake it.  By 1920, ragtime was nearly forgotten.     Thirty years later, a ragtime revival began.  And one Patricia Lamb-Conn found out that her father, Joseph F. Lamb, was a well-known composer of ragtime.  In fact, the “Big Three� composers of classical ragtime are considered to be Scott Joplin, James Scott and the only non-African American, Joseph Lamb.     Lamb was born in 1887 in New Jersey, taught himself to play piano and was very much influenced by Joplin’s early ragtime publications.  From there, Lamb went on to develop into a master of classic ragtime.     One of Lamb’s most popular works was a 1916 composition he titled “Patricia Rag.� (The title apparently had nothing to do with his daughter, who was born in 1924.)  It consists of four themes in five sections, with the first theme repeated after sections 1 and 2.  Lamb pitched the opening in E-flat Major, changing to A-flat Major at the Trio.       This brass quintet arrangement, completed in 2024, consists of 150 measures, approximately five minutes, ten seconds in length.  It retains the basic structure of the original piano score but modifies the pitches to B-flat Major and E-flat Major, respectively, to accommodate the normal playing range of the brass instruments.  Possible exceptions for some players include:  (1) Trumpet 1 plays its A-above-the-staff a number of times and its B above-the-staff once; (2) Trombone plays several E above-the-staff notes; (3) Tuba plays several way-below-the-staff F notes and one high G note. Throughout the arrangement, the original melody is maintained and featured, but in some sections the background and harmony are altered to feature one or more of the five instruments.  In the Trio, the sections designated by rehearsal marks F and G are slowed and treated as a serenade; the original tempo is restored at H.  In performing this arrangement, players should pay particular attention to dynamics.  Additionally, because of the nature of ragtime, this piece may require more-than-usual practice and rehearsal.     The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  Contact him at lessmith61@bellsouth.net.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.