SKU: A0.862513

A musette is a bassline that typically uses alternating low and high octaves to keep the underpinnings of a melody moving right along. Here we have that broken octave figure split into two voices, the cello and bass. Thus, no one section has to keep alternating up and down. The tune is a Shubertian sort of easy-going, elegant song. It is harmonized with as much color as the basic scalar melody can absorb, without getting too radical in its tonal range. The final section uses two dotted quarters in each measure instead of three plain quarter-notes. Bowings are by string pedagogue Lori Sandell Lacey. Running time at the suggested tempo is 3 mins. The piece CAN go faster should your group be up to that task! Remember, ALL notes are in 1st position for all sections, no trills or fast passages across strings, all standard up and down bowings, no pizzicato or divisi. Makes a nice opening piece, or the end of the first section of a two-part program. MBB.

SKU: A0.761540

Here is an arrangement of The First Nowell, arranged for three Clarinet players (standard Bb Clarinets). It's an ideal for mixed ability groups too, as part three stays below the break.

The popular carol has had a new short introduction added, and weaves through (at times) some slightly unexpected harmony and textures: a great opportunity to practice blending and intonation skills.

This is one of seven trios from Masquerade Music's 'Christmas Trios' book (excerpts on the Youtube video here) for 3 Bb Clarinets (also available in SAT/AAT Saxophone, and Flute editions) which can be purchased as a collection on SheetMusicPlus. .

SKU: A0.1328327

The first of its kind, and the first entry in the Accessible Accompaniments library’s collection of small-hand-optimized song literature publications, this is Richard Strauss’s beloved “Zueignung,� from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. “Small� is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.

This edition was inspired by Boosey’s excellent small-hand edition of Frank Bridge’s “Love Went A-Riding� (erroneously labeled “simplified� on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Strauss’s op. 10 collection is much more widespread on today’s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Strauss’s songs are often so orchestral in spirit—much more so than the Bridge—that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Strauss’s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.

The primary source material for this edition is Henle’s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompaniments’ distinctive house style, marked by its visual beauty and ease of reading.

While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you don’t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibility—and that goes for singers, too!

SKU: A0.1327769

The first of its kind, and the first entry in the Accessible Accompaniments library’s collection of small-hand-optimized song literature publications, this is Richard Strauss’s beloved “Zueignung,� from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. “Small� is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.

This edition was inspired by Boosey’s excellent small-hand edition of Frank Bridge’s “Love Went A-Riding� (erroneously labeled “simplified� on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Strauss’s op. 10 collection is much more widespread on today’s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Strauss’s songs are often so orchestral in spirit—much more so than the Bridge—that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Strauss’s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.

The primary source material for this edition is Henle’s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompaniments’ distinctive house style, marked by its visual beauty and ease of reading.

While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you don’t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibility—and that goes for singers, too!

SKU: A0.1329064

The first of its kind, and the first entry in the Accessible Accompaniments library’s collection of small-hand-optimized song literature publications, this is Richard Strauss’s beloved “Zueignung,� from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. “Small� is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.

This edition was inspired by Boosey’s excellent small-hand edition of Frank Bridge’s “Love Went A-Riding� (erroneously labeled “simplified� on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Strauss’s op. 10 collection is much more widespread on today’s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Strauss’s songs are often so orchestral in spirit—much more so than the Bridge—that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Strauss’s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.

The primary source material for this edition is Henle’s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompaniments’ distinctive house style, marked by its visual beauty and ease of reading.

While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you don’t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibility—and that goes for singers, too!

SKU: A0.1328390

The first of its kind, and the first entry in the Accessible Accompaniments libraryâ??s collection of small-hand-optimized song literature publications, this is Richard Straussâ??s beloved â??Zueignung,â?� from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. â??Smallâ?� is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.

This edition was inspired by Booseyâ??s excellent small-hand edition of Frank Bridgeâ??s â??Love Went A-Ridingâ?� (erroneously labeled â??simplifiedâ?� on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Straussâ??s op. 10 collection is much more widespread on todayâ??s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Straussâ??s songs are often so orchestral in spiritâ??much more so than the Bridgeâ??that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Straussâ??s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.

The primary source material for this edition is Henleâ??s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompanimentsâ?? distinctive house style, marked by its visual beauty and ease of reading.

While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you donâ??t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibilityâ??and that goes for singers, too!

SKU: A0.1328293

The first of its kind, and the first entry in the Accessible Accompaniments library’s collection of small-hand-optimized song literature publications, this is Richard Strauss’s beloved “Zueignung,� from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. “Small� is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.

This edition was inspired by Boosey’s excellent small-hand edition of Frank Bridge’s “Love Went A-Riding� (erroneously labeled “simplified� on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Strauss’s op. 10 collection is much more widespread on today’s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Strauss’s songs are often so orchestral in spirit—much more so than the Bridge—that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Strauss’s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.

The primary source material for this edition is Henle’s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompaniments’ distinctive house style, marked by its visual beauty and ease of reading.

While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you don’t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibility—and that goes for singers, too!