Concert Band - Digital Download SKU: AX.00-PC-0015844_TB1 Tuba. Composed by Cab Calloway and Irving Mills. Arranged by Ralph Ford. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015844_TB1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015844_TB1). UPC: 038081453057.First recorded in 1931 by Cab Calloway and his orchestra, this classic is best known for its famous scat phrase, Hi De Hi De Hi De Ho, performed as a call-and-response with audiences. He performed the song on film for the first time in 1955's Rhythm and Blues Review and much later in 1980's Blues Brothers at age 73. Authentic and recognized globally, the band members won't be the only ones singing! (2:30) This title is available in SmartMusic.

Concert Band - Digital Download SKU: AX.00-PC-0015844_B1 Bassoon. Composed by Cab Calloway and Irving Mills. Arranged by Ralph Ford. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015844_B1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015844_B1). UPC: 038081453057.First recorded in 1931 by Cab Calloway and his orchestra, this classic is best known for its famous scat phrase, Hi De Hi De Hi De Ho, performed as a call-and-response with audiences. He performed the song on film for the first time in 1955's Rhythm and Blues Review and much later in 1980's Blues Brothers at age 73. Authentic and recognized globally, the band members won't be the only ones singing! (2:30) This title is available in SmartMusic.

Concert Band - Digital Download SKU: AX.00-PC-0015844_O1 Oboe. Composed by Cab Calloway and Irving Mills. Arranged by Ralph Ford. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015844_O1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015844_O1). UPC: 038081453057.First recorded in 1931 by Cab Calloway and his orchestra, this classic is best known for its famous scat phrase, Hi De Hi De Hi De Ho, performed as a call-and-response with audiences. He performed the song on film for the first time in 1955's Rhythm and Blues Review and much later in 1980's Blues Brothers at age 73. Authentic and recognized globally, the band members won't be the only ones singing! (2:30) This title is available in SmartMusic.

Concert Band - Digital Download SKU: AX.00-PC-0015844_TN1 1st Trombone. Composed by Cab Calloway and Irving Mills. Arranged by Ralph Ford. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015844_TN1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015844_TN1). UPC: 038081453057.First recorded in 1931 by Cab Calloway and his orchestra, this classic is best known for its famous scat phrase, Hi De Hi De Hi De Ho, performed as a call-and-response with audiences. He performed the song on film for the first time in 1955's Rhythm and Blues Review and much later in 1980's Blues Brothers at age 73. Authentic and recognized globally, the band members won't be the only ones singing! (2:30) This title is available in SmartMusic.

Concert Band - Digital Download SKU: AX.00-PC-0015844_C1 1st B-flat Clarinet. Composed by Cab Calloway and Irving Mills. Arranged by Ralph Ford. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015844_C1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015844_C1). UPC: 038081453057.First recorded in 1931 by Cab Calloway and his orchestra, this classic is best known for its famous scat phrase, Hi De Hi De Hi De Ho, performed as a call-and-response with audiences. He performed the song on film for the first time in 1955's Rhythm and Blues Review and much later in 1980's Blues Brothers at age 73. Authentic and recognized globally, the band members won't be the only ones singing! (2:30) This title is available in SmartMusic.

Choral Choir,Choral,SAB Chorus - Level 2 - Digital Download SKU: A0.1412590 By Steve Angrisano and Tom Tomaszek. By Steve Angrisano and Tom Tomaszek. Arranged by Kenneth Martin. Contemporary,Contest,Festival,Instructional,Praise & Worship,Spiritual. 11 pages. Martin Music Editions #994608. Published by Martin Music Editions (A0.1412590). Get ready to ignite the stage with an electrifying rendition of Go Make A Difference, a dynamic arrangement originally crafted by the talented duo of Steve Angrisano and Tom Tomaszek. Now reimagined for sacred youth choirs, this rendition is a firecracker of energy and inspiration, perfect for those momentous occasions like Baccalaureate or Commencement ceremonies.Tailored specifically for SAB voicing, this arrangement is a breeze to prepare, allowing singers to dive headfirst into its infectious rhythms and uplifting harmonies. With choruses that reverberate with hope and determination, there's ample room for singers to pour their hearts into each phrase, fostering deep connections with the empowering message.The piano accompaniment is a driving force, crafted with the intermediate student accompanist in mind. It pulses with energy, propelling the choir forward while providing a sturdy foundation for the voices to soar.Based on the timeless wisdom of Matthew 5:13–16, the text of Go Make A Difference is a beacon of light in a world hungry for hope. Its words resonate particularly strongly with youth voices, inspiring them to rise to the occasion and be the change they wish to see.But here's where things truly get exciting: soloists take center stage during the verses and final chorus, infusing their unique talents into the performance. And when the breakdown section hits, complete with hand claps, the energy skyrockets, turning the performance into a celebration of passion and purpose.Directors, let your creativity run wild with this arrangement. Use it as a canvas for improvisation, exploring different vocal textures and dynamics. Whether you stick to the script or venture into uncharted musical territory, the possibilities are as limitless as the stars in the sky.With its pulsating energy, empowering message, and unwavering faith, this arrangement of Go Make A Difference is not just a song—it's a call to action. So grab your choir robes, raise your voices, and get ready to set the world on fire with your music!

Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.1035296 Composed by John Coltrane. Arranged by Lenora Helm Hammonds. A Cappella. Octavo. 7 pages. Zenzalai Music Publishing #6475801. Published by Zenzalai Music Publishing (A0.1035296). Max Divisi: SSAATTBaB Level:  4 (dense harmony in some sections); Soprano solo is rhythmically challenging. A seminal jazz ballad selection, Niema (also known as Naima) was written by John Coltrane, with lyrics by Jon Hendricks and arranged by Lenora Helm Hammonds. The 2nd chorus features a vocalese with the arranger’s lyrics, written to pianist Tommy Flanagan’s solo from the original recording. The soloist for the vocalese can be soprano, high alto or a high tenor and is quite harmonically and rhythmically challenging. The arrangement features, some section unison features, dense chorus harmonies, and a vocal bass line in the bridge for the baritone and bass voices. Notes: The first chorus is performed by the complete ensemble, followed by the vocal solo. An instrument solo is also optional as an additional chorus separating the vocal solo and the return to the top of the form with the return of the ensemble (as heard in the demo.) The demo depicts the vocalists performing with piano, bass and drum as a rhythm section supporting the vocals. However, the arrangement can be sung a cappella for advanced groups or with just piano accompaniment.

Cello and piano - intermediate - Digital Download SKU: S9.Q49383 Composed by Cesar Antonovich Cui. This edition: Sheet music. Cesar cui - piano - violoncello. Schott Student Edition - Repertoire. Downloadable. Op. 50/9. Schott Music - Digital #Q49383. Published by Schott Music - Digital (S9.Q49383). German • English • French.Orientale by the Russian composer and music critic César Cui (1835–1918) comes from the cycle Kaleidoscope, a collection of 24 miniatures for violin and piano. The piece was arranged for numerous instrumentations, with the arrangement for cello being among the most popular. The miniature exudes an oriental charm, both melodically and rhythmically, and is a popular encore, not least due to its shortness. Estelle Revaz, an experienced concert cellist and teacher, edited the work, adding tips for modern cello lessons which make the first steps into cello playing easier and provide suggestions for the student's own interpretation. The edition is part of the Schott Student Edition series which offers varied literature at five different levels of difficulty (from 1-easy to 5-difficult) for instrumental lessons. Practical tips by teachers help to master the pieces and make the editions valuable additions to modern music lessons. Each edition of the series is available as printed edition or digital download edition (PDF). For many works, the piano accompaniment is available as playback version (MP3 download) as well. About Schott Student EditionThe Schott Student Edition gathers instrumental works for music lessons providing a unique and varied repertoire resource including standard teaching works, lesser known pieces which are perfectly suited to lessons as well as to student concerts and competitions.The repertoire is divided into levels 1-5, from very easy to difficult, and includes works from the Renaissance up to modern performance pieces. Each title is graded, from very easy works for beginners up to demanding pieces for more advanced students who are preparing for further study or examinations.Every work in the series has been carefully selected and edited by experienced music teachers. The editions also contain a wealth of information on the pieces as well as useful advice on studying, rehearsing and interpreting the works. The first titles to be published in the Schott Student Edition series contain works for violin, violoncello, flute, clarinet and recorder. Further editions are in preparation.

Choral Choir (SAB) - Level 4 - Digital Download SKU: A0.818188 Composed by Philip Le Bas. Christian,Sacred. Octavo. 11 pages. Philip Le Bas #6271973. Published by Philip Le Bas (A0.818188). A short, attractive setting of Psalm 121 for three-part (SABar) choir and piano. It is written with parish choirs in mind (with their abundance of soprano and alto voices, but relative lack of male voices!), and consists of three sections. The first part presents the richly harmonised piano accompaniment in the form of a ritornello and the principal, rising melody from the choir, looking to the mountains for an answer to life's challenges and asking from where shall come my help? The second section presents short, pithy phrases sung by each voice separately expressing different ways in which God comes to their aid. The initial melody and accompaniment, repeating the first lines of the psalm, finally return in an altered form (both harmonically and melodically), and the setting ends with a celebration of confidence in the Lord who made heaven and earth.

Saxophone Ensemble,Woodwind Ensemble - Level 4 - Digital Download SKU: A0.755338 Composed by Sy Brandon. 20th Century,Contemporary. 81 pages. Sy Brandon #6619959. Published by Sy Brandon (A0.755338). Hope Collage was commissioned in honor of Hope College's 14th President, Matthew Scogin. President Scogin was inaugurated in 2019 and exemplifies the qualities of hope represented in this piece. The first movement Castles In The Sky is in 6/8 meter with some of the syncopated rhythmic figures that pit 3/4 against the 6/8. The major tonality is disguised by chromaticism either in the melody or in the counterpoint and harmony. The form is basically AB with a Coda. The slow second movement A Light at the End of the Tunnel has the tenor and baritone saxophones representing the darkness of the tunnel using minor and slightly dissonant harmony. The light at the end of the tunnel is represented by the alto and soprano saxophones. Even though they are still in minor, their brightness and rising arpeggios represent a glimmer of hope. By the time the movement nears the end, optimism has taken over and the entire ensemble is in shifting major tonalities leading up to the quiet, yet, prayerful end in B major. The third movement Knock On Wood has a Scherzo quality and is at an allegro tempo. The opening theme sets the tone of optimism with its combination of quartal, quintal, and triadic harmony along with staccato articulation. It is answered by the saxophones doing rhythmic slap tongue in a pyramid formation that represents knocking on wood. The theme and its variations alternate with the slap tongue throughout most of the movement. In several places, the theme and slap tongue appear in canon. Towards the end, the theme becomes fragmented and the slap tongue dominates. The fragments become pieced together leading to a final outburst of 16th note joy before the last chord. The movement ends with foot stomps that rhythmically suggests knock on wood. The last movement Promised Land is in two parts. The first is meditative and prayer-like in a moderate tempo. It has a passacaglia bass line and contrapuntal lines are added above it. It also grows in intensity until it reaches the Allegro, which is the second part and is celebratory. The Allegro begins with a sixteenth note motif that plays an accompaniment role in many places throughout the last section to the slower moving declarative lines. Near the end, motifs from the Moderato section are transformed in the Allegro, therefore linking the two sections.

Brass Quintet Baritone Horn TC,Cornet,Euphonium,Flugelhorn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1440682 Composed by William Henry Monk. Arranged by Keith Terrett. 20th Century,Christian,Historic,Instructional,Traditional. 12 pages. Keith Terrett #1020660. Published by Keith Terrett (A0.1440682). Abide with me and the Infantry Last Post arranged for Solo Bugle or (Trumpet/Cornet/Flugel) & Brass Quintet.Remembrance Day (also known as Poppy Day owing to the tradition of wearing a remembrance poppy) is a memorial day observed in Commonwealth member states since the end of the First World War to honour armed forces members who have died in the line of duty.[1] The day is also marked by war remembrances in several other non-Commonwealth countries. In most countries, Remembrance Day is observed on 11 November to recall the end of First World War hostilities. Hostilities ended at the 11th hour of the 11th day of the 11th month of 1918, in accordance with the armistice signed by representatives of Germany and the Entente between 5:12 and 5:20 that morning. (At the 11th hour refers to the passing of the 11th hour, or 11:00 am.) The First World War formally ended with the signing of the Treaty of Versailles on 28 June 1919.Abide with Me is a Christian hymn by Scottish Anglican cleric Henry Francis Lyte. A prayer for God to stay with the speaker throughout life and in death, it was written by Lyte in 1847 as he was dying from tuberculosis. It is most often sung to the tune Eventide by the English organist William Henry Monk.The Last Post is either an A or a B? bugle call, primarily within British infantry and Australian infantry regiments, or a D or an E? cavalry trumpet call in British cavalry and Royal Regiment of Artillery (Royal Horse Artillery and Royal Artillery), and is used at Commonwealth military funerals, and ceremonies commemorating those who have died in war.

Concert band - Grade 4 - Digital Download SKU: IZ.CBS172-S Composed by Jordan Eismeier. Score. 15 pages. Imagine Music - Digital #CBS172-S. Published by Imagine Music - Digital (IZ.CBS172-S). 9 x 12 in inches.This piece was originally composed for full orchestra as the sixth and final movement of my own second symphony Double Cross which musically chronicles the life and death of a man whose name has become synonymous with betrayal: Judas Iscariot. In the book of Matthew, chapter 27:1-10, Judas returns the blood money and hangs himself; the chief priests used the money and bought the Potter's field which became known as the Field of Blood, a burial place for strangers. This elegy for Judas is the haunting memoir of a traitor.Elegy is a piece just shy of seven minutes whose challenge is not in technical facility but rather in musical nuance. It gives many instruments opportunities to shine individually and in chamber-like settings, and it also challenges players to listen to the musical interactions in the fuller sections. Several specialty instruments are marked ad. lib., such as Eb clarinet, English horn, contrabassoon, double bass, and while they are optional, they sometimes do have prominent parts (especially English horn), but all optional instruments are either doubled or marked for cues when featured [NOTE: For ease of score reading, cues are not written out in the score; they are only cited on the appropriate lines]. So their presence is useful, but their absence is not prohibitive. Also, the score calls for some challenging ranges in the first horn, first bassoon and first/second trombones. These passages are marked with optional 8vb's, and the first bassoon and trombone have the opportunity to play a short passage in tenor clef. The timpani part includes suggested drum tunings, and it gives ample time and direction for the few pitch changes are required. The vibraphone part (Perc. 1) does employ four-mallet technique in places, but if this is not feasible (this would be a good piece in which to start learning it), the score specifies that Perc. 1 may be played on a piano instead. Percussion 3 calls for crotales, but in their absence, the glockenspiel may be used, and Perc. 3 already has that. The optional double bass part makes use of notes requiring a C extension, but it also gives optional small notes an octave higher in case the bassist has no C extension (which is likely). So in all, this piece offers plenty of challenges, but it also comes with optional escapes to help make it more accessible to more bands.Elegy-Field of Blood will challenge the musicality of good high school and college bands while still being a respectable member of professional repertoire. Its major performance challenges can be circumvented without terribly compromising the musicality, but they are available for maximum musical impact.

Concert band - Grade 4 - Digital Download SKU: IZ.CBS172 Composed by Jordan Eismeier. Score and Parts. 77 pages. Imagine Music - Digital #CBS172. Published by Imagine Music - Digital (IZ.CBS172). 9 x 12 in inches.This piece was originally composed for full orchestra as the sixth and final movement of my own second symphony Double Cross which musically chronicles the life and death of a man whose name has become synonymous with betrayal: Judas Iscariot. In the book of Matthew, chapter 27:1-10, Judas returns the blood money and hangs himself; the chief priests used the money and bought the Potter's field which became known as the Field of Blood, a burial place for strangers. This elegy for Judas is the haunting memoir of a traitor.Elegy is a piece just shy of seven minutes whose challenge is not in technical facility but rather in musical nuance. It gives many instruments opportunities to shine individually and in chamber-like settings, and it also challenges players to listen to the musical interactions in the fuller sections. Several specialty instruments are marked ad. lib., such as Eb clarinet, English horn, contrabassoon, double bass, and while they are optional, they sometimes do have prominent parts (especially English horn), but all optional instruments are either doubled or marked for cues when featured [NOTE: For ease of score reading, cues are not written out in the score; they are only cited on the appropriate lines]. So their presence is useful, but their absence is not prohibitive. Also, the score calls for some challenging ranges in the first horn, first bassoon and first/second trombones. These passages are marked with optional 8vb's, and the first bassoon and trombone have the opportunity to play a short passage in tenor clef. The timpani part includes suggested drum tunings, and it gives ample time and direction for the few pitch changes are required. The vibraphone part (Perc. 1) does employ four-mallet technique in places, but if this is not feasible (this would be a good piece in which to start learning it), the score specifies that Perc. 1 may be played on a piano instead. Percussion 3 calls for crotales, but in their absence, the glockenspiel may be used, and Perc. 3 already has that. The optional double bass part makes use of notes requiring a C extension, but it also gives optional small notes an octave higher in case the bassist has no C extension (which is likely). So in all, this piece offers plenty of challenges, but it also comes with optional escapes to help make it more accessible to more bands.Elegy-Field of Blood will challenge the musicality of good high school and college bands while still being a respectable member of professional repertoire. Its major performance challenges can be circumvented without terribly compromising the musicality, but they are available for maximum musical impact.

Choral Choir (SATB) - Digital Download SKU: A0.1007125 Composed by Mogens Eliasen. Folk,Romantic Period. Octavo. 40 pages. Soverenity Enterprises Inc. #2948289. Published by Soverenity Enterprises Inc. (A0.1007125). The 40-page score is a choral symphony with a powerful lesson to modern people, based on an old Danish folk song about the young super-hero Ramund.  The score is dense with contents, both musically and lyrically, and alone for that reason, the 8-minute performance takes an advanced choir.The original folk song dates back to the Viking age and consist of many episodes ofRamund's life, almost like a personal saga. Some have undoubtedly been added later,making the total number of stanzas go up around 50, but the main idea of the song isto report about a young lad, whose ideas of what is right for him to do or not doare completely unaffected by other people's opinions, including those of royalties andcelebrities. The stories are in many regards comparable to those of Beowolf.Although the stories generally are dramatic and bloody, Ramund always retains hiscool attitude and shows how unimpressed he is with power demonstrations, even hisown when he is provoked to use his strength. It is a common element throughout thestories that Ramund detests evil and aggression, and he goes to great lengths to fightpower abusers and aggressive elements. He just wants to live in peace and not haveto be bothered by all those who like to abuse power!Included in this presentation for piano and 8 voices are 11 stanzas from what is believedto be original, in English translation, with focus on clarity of meaning, more so thanpoetical rules and rhymes. The first ruling concept has been to obtain clarity and agreat fit to the music. The second concept has been to add the inspiration this old folksong has created in the mind of a modern rebel who would like to see some ofRamund's attitude to power and power abusers put into action in our modern corruptsociety. Maybe in a less bloody version, but definitely with a similar effect! The added2 stanzas and the attached coda, as well as the added lyrics to the intermezzos and theincorporated commentaries to the action should serve that purpose.In addition, the original tune itself, as well as the lyrics and the intermezzo, haveinspired some musical development throughout the piece, to further accentuate themeaning and the messages about respecting each other, standing together againstabuse, and not letting power abusers get away with their crimes.The 8 voices cover ranges as follows:     First sopranos: C4 through Bb5 (possibly G5);     Second sopranos: C4 through E5;     All altos: G3 through D5;     All tenors: C3 through G#4(possibly F#4);     First basses: F2 through D4;     Second basses: D2 through B3

String Quartet String Quartet - Level 3 - Digital Download SKU: A0.1048737 Composed by Felix Bartholdy Mendelssohn. Arranged by Yoon Jae Lee. Classical,Romantic Period,Standards,Traditional,Wedding. 10 pages. Ondine Press #652362. Published by Ondine Press (A0.1048737). This is a full score Yoon Jae Lee's arrangement of the wedding march for string quartet. The set of parts is available separately. Mendelssohn’s wedding march is a ubiquitous piece for any seasoned wedding musician. A quick search online reveals that there are more than a few dozen arrangements of this work for string quartet alone! So why create another one? Many of the arrangements currently in circulation are of extremely poor quality, both from a musical and publishing standpoint. Too often they give little regard to what Mendelssohn actually wrote and are rendered as if the arranger was recalling the music by ear. My new arrangement was created with a fresh examination of the original orchestral score. Here are some key highlights: 1. It preserves the structural integrity of the music (i.e. same exact number of bars as the original) 2. Maintains a balance between the original context and rewriting the music idiomatically for string quartet. 3. Aims to be of high artistically yet playable by most string players above an intermediate level (There are double stops and a few triple stops but nothing unmanageable). 4. No unnecessary articulations, bowings or fingerings have been added. The basic spirit of the music is left untouched and skilled musicians can make their own interpretive decisions with fresh insight into the music. 5. A clean, high quality engraving with bar numbers added. An abridged arrangement of the first 29 bars of march is also available so don’t use a cheap, free arrangement online of this important work. If you are a “serious� musician, be sure to have this arrangement of the wedding march always handy in your library! Perusal Score: https://issuu.com/ondinepress/docs/mendelssohn_wedding_march_full.