Guitar - Level 2 - Digital Download SKU: A0.1120784 By Simon James. By G. F. Handel. Arranged by Simon James. Baroque,Chamber,Christian,Christmas,Contemporary. Full Performance. Duration 91. DML #721999. Published by DML (A0.1120784). A popular Christmas carol, the tune usually used today is from an 1848 edition by Lowell Mason for The National Psalmist (Boston, 1848). There has long been speculation over how much a part Handel's Messiah had in Joy to the World. However, resemblances between Messiah and Joy to the World, have been dismissed as 'chance ' by Handel scholars today. It seems likely that the tune as we know it was probably from an 1833 publication by Thomas Hawkes with the title “Comfort�, Author Unknown. I have combined Handelian elements with the tune that most people know to create an arrangement that works well for guitar quartet retaining the bounce and vigour of the carol. Score available.

Harp - Level 3 - Digital Download SKU: A0.797465 Composed by Louise Trotter. Instructional. Score. 67 pages. Afghan Press Music for the Harp #4855295. Published by Afghan Press Music for the Harp (A0.797465). This revised book combines three of Ms. Trotter's popular books:  Getting Started in Pop Harp, The Creative Folk Harpist, and Let's Play Country Harp.Included are compilations from workshop presentations into this book which contains repertoire suggestions, ways to tune your harp, scales and chords, intervals, seventh chords and minor scales, diminished chords, voicing, inversions, bass patterns, chord progressions, steps in making an arrangement , introductions, endings, and how to play variations on the melody. To be a creative and versatile pop harpist, classic training is valuable and necessary. However, the habit of playing every note as written is sometimes hard to break when learning to improvise. The act of playing notes spontaneously may be overwhelming to the classically trained harpist. There are more and more written arrangements for popular music available to buy, but is satisfying to have the skills to arrange one's own pieces. It is possible to play popular music from a fake book or by ear, with training. The suggestions in this book should help bridge the gap from classical to pop, and hopefully provide some tools for the improvisation necessary for playing popular music. These ideas come from Louise's own experience, and from workshops with nationally knows pop and jazz harpists. It is hoped that the material presented will open up new avenues for the harpist to arrange and improvise in order to widen opportunities to perform.With simple melodies and uncomplicated harmonies, this book also instructs the harpist on the basics of achieving that country-western sound, as well as techniques on imitating such traditional country western instruments as guitar, banjo, fiddle, string bass, and piano. A good book for any harpist wishing to enlarge their repertoire to include this style of music. 

Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.841363 Composed by Felix Bartholdy Mendelssohn, Samuel Arnold, and William H. Cummings. Arranged by Michele Galvagno. Christian,Christmas,Praise & Worship,Sacred. Octavo. 18 pages. Artistic Score Engraving di Galvagno Michele #6098159. Published by Artistic Score Engraving di Galvagno Michele (A0.841363). This year's Christmas publication choice fell on a song very dear to me: Hark! The herald angels sing. The text, inspired by Luke’s Gospel (2:14), appears for the first time in a collection of Christmas carols called Hymns and Sacred Poems in 1739, jointly written by Charles Wesley (1707-1788 ) and George Whitefield (1714-1770), two of the founding members of the Methodist movement.The version we know today is the one adapted by William H. Cummings (1831-1915) from the section Vaterland, in deinen Gauen of the Festgesang zum Gutenbergfest, WoO 9, by Felix Mendelssohn-Bartholdy (1809-1847). The story, however, is more complex and articulated than that.The original version of the text, written by Wesley, bearing the title Hymn for Christmas-Day, had received only slow and solemn music for its verses, music now almost completely discarded. Also, his original opening lines were Hark! How all the welkin rings / Glory to the King of Kings .The version that has been passed to us is the result of alterations made by different hands, especially those of Whitefield, who changed the initial couplet into the one we know today.In 1840-one hundred years after the publication of Hymns and sacred Poems-Mendelssohn composed a cantata commemorating Johann Gutenberg’s invention of movable-type printing. The English musician William H. Cummings finally adapted Mendelssohn’s music around 1855 in order to fit the music to the verses and give it its present look.In this edition we propose the version that every listener expects to hear when reading the title on the programme and, immediately after, one of the few original versions that have reached us in their entirety, that is the one set to music by Samuel Arnold (1740-1802) and available today in The British Minstrel, and Musical and Literary Miscellany, vol. 3, published in 1843.The proposed instrumentations are those of the classical string quartet and the cello quartet. Both variants are very simple to perform and are certainly suitable for small string ensembles formed in musical schools. In the cello quartet version, the only relatively complex part is that of the first cello, which should be left to the teacher or to a student able to play up to the 7th position without excessive troubles.I hope this music can bring you the serenity that made me prepare it.

Concert Band - Level 5 - Digital Download SKU: A0.1463454 Composed by Franz Liszt. Arranged by Michael Barrera. 19th Century,Classical,Romantic Period. 251 pages. Michael Barrera #1042150. Published by Michael Barrera (A0.1463454). Https://www.michaelbarreraflute.com/shop/p/mephisto-waltz1-band-partsTwo Episodes from Lenau’s Faust | Mephisto Waltz No. 1Program NotesFranz Liszt’s first Mephisto Waltz is a programmatic work based on an episode from Nikolaus Lenau’s 1836 verse drama Faust.  The program note that appears in the original printed score is noted here:There is a wedding feast in progress in the village inn, with music, dancing, carousing.  Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities.  Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains.  The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods.  The sounds of the fiddle grow softer and softer, and the nightingale warbled his love-laden song. Mephisto Waltz No. 1 is paired with a work preceding it, Midnight Procession (Der Nächtliche Zug), however this piece is not as widely performed.  Liszt later transcribed the waltz into a piano duet and a virtuosic solo piano work.  Each of these versions were written around the same time, roughly 1859-62.  The orchestral version also has an alternate ending, which is softer and fades away.  This arrangement features both endings. This work was then followed by three more Mephisto Waltzes.  No. 2 was also written as both an orchestral and piano work, while Nos. 3 and 4 were for piano only.  Of the four, the first is the most popular, although the third is also praised as highly musically. InstrumentationWritten for Wind Ensemble of any size (Number indicates how many parts - some parts include divisi)1 Piccolo (doubles Flute 3)                                              2 Flutes2 Oboes2 Bassoons1 Clarinet (E flat)3 Clarinets (B flat)1 Bass Clarinet (B flat)1 Contrabass Clarinet (B flat)2 Alto Saxophones1 Tenor Saxophone1 Baritone Saxophone3 Trumpets (B flat)4 Horns (F)2 Trombones1 Bass Trombone1 Euphonium1 Tuba1 String BassTimpaniMarimbaCymbalTriangle.

Concert band - Digital Download SKU: IZ.CBS158 Composed by Britt Burns. Score and Parts. 90 pages. Duration 7 minutes, 35 seconds. Imagine Music - Digital #CBS158. Published by Imagine Music - Digital (IZ.CBS158). 9 x 12 in inches.Distance was composed in early 2009 (and later revised in 2011) when I was feeling very homesick. The title wasinspired by the big change that comes when one relocates 1,000 miles away from familiar territory to begin a new life.Although this kind of event is very exciting, it also can create pain from the absence of friends and family. The music isintended to sound bittersweet in nature because it's meant to reflect both of these things.I don't usually try to write in a specific form, as I feel that can hurt the natural flow of how the music wants to develop.However, this piece is indeed in anABAform. Almost all of the thematic material in the piece is written in a major key,but with the goal of sounding a little sad. While writing this, I was heavily influenced by the music of Ennio Morriconeand Dan Forrest. There is a short motive used in the B section of the piece that is similar to a motive used in variousfilm themes. Since I associate this motive with Morricone, and because he is one of my all time favorite composers, Idecided to dedicate this piece to him.

Piano - Level 3 - Digital Download SKU: A0.1207336 By Keith Terrett. By Frederick M. Lehman. Arranged by Keith Terrett. Historic,Multicultural,Patriotic,Praise & Worship,Traditional,World. Score (Chords/Lyrics). 3 pages. Keith Terrett #805498. Published by Keith Terrett (A0.1207336). The Pitcairn Islands are a remote British colony in the South Pacific, famous for being the site where the mutineers from the HMS Bounty landed. The islands’ population have always been very small (currently numbering around 50), yet, aside from the official anthem of God Save the King (which is not heard often on the islands), there have been, and continue to be, many unofficial anthems in use in the colony.In Diana Jolliffe Belcher’s 1871 book “The Mutineers of the Bounty and their Decendants in Pitcairn and Norfolk Island� it is reported that a local poem by Rev. G. H. Nobbs was set to the tune “Rousseau’s Dream� (sheet music) and was considered by Pitcairners to be their anthem at the time. It is not known for how long this was considered as their anthem, however. Also, in 1856, several Pitcairners resettled on Norfolk Island as Pitcairn had become too small. The local anthem now in use on Norfolk Island, Come Ye Blessed, is also referred to as the “Pitcairn Anthem�, and more than likely was brought to the island by the Pitcairn settlers, suggesting that this anthem was in use on Pitcairn at that time, and is also heard on Pitcairn currently.Currently, the song “We From Pitcairn Island� (to the tune of the hymn “The Royal Telephone�) is used as an unofficial anthem at gatherings and the like. The lyrics were written by Pitcairner Melva Evans with assistance from the local Seventh Day Adventist Pastor L. A. J. Webster in 1962 to be performed by the school children on board a visiting cruise ship, but the song became identified by residents as their unofficial anthem. Other songs, such as “The Goodbye Song� (written by Pitcairner Amelia Young), and the hymn “In The Sweet By and By� are considered unofficial “Pitcairn songs� at gatherings as well. (“Goodbye songs�, sung to ships as they leave the country, are a tradition in many Polynesian islands, and are part of the patriotic music of those countries.).

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1198761 Composed by George Gershwin. Arranged by Phyllis Hopper. Blues,Chamber,Jazz. 12 pages. HopSez Productions #797843. Published by HopSez Productions (A0.1198761). Add some easy blues chromaticism to your repetoire with this classic Gershwin tune. In a switch from the usual, the melody is carried by the viola and sometimes the cello (bass clef).  This arrangement is raised a half step from the original. Now in D minor (with a brief foray into G major), the range is not technically difficult; however, the piece is peppered with enough accidentals to keep you on your toes.Suggestion: I think the arrangement would sound nice if coupled with a Joplin rag. I'd be interested in hearing how you choose to incorporate it into your program.The work was influenced by a masterful performance from pianist Eduardo Rojas. Please check it out.Time 3:50I'd love to hear from you! Feel free to send feedback, ideas, or requests to phroglis@tutanota.com.

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.841364 Composed by Felix Bartholdy Mendelssohn, Samuel Arnold, and William H. Cummings. Arranged by Michele Galvagno. Christian,Christmas,Praise & Worship,Sacred. Octavo. 18 pages. Artistic Score Engraving di Galvagno Michele #6098157. Published by Artistic Score Engraving di Galvagno Michele (A0.841364). This year's Christmas publication choice fell on a song very dear to me: Hark! The herald angels sing. The text, inspired by Luke’s Gospel (2:14), appears for the first time in a collection of Christmas carols called Hymns and Sacred Poems in 1739, jointly written by Charles Wesley (1707-1788 ) and George Whitefield (1714-1770), two of the founding members of the Methodist movement.The version we know today is the one adapted by William H. Cummings (1831-1915) from the section Vaterland, in deinen Gauen of the Festgesang zum Gutenbergfest, WoO 9, by Felix Mendelssohn-Bartholdy (1809-1847). The story, however, is more complex and articulated than that.The original version of the text, written by Wesley, bearing the title Hymn for Christmas-Day, had received only slow and solemn music for its verses, music now almost completely discarded. Also, his original opening lines were Hark! How all the welkin rings / Glory to the King of Kings .The version that has been passed to us is the result of alterations made by different hands, especially those of Whitefield, who changed the initial couplet into the one we know today.In 1840-one hundred years after the publication of Hymns and sacred Poems-Mendelssohn composed a cantata commemorating Johann Gutenberg’s invention of movable-type printing. The English musician William H. Cummings finally adapted Mendelssohn’s music around 1855 in order to fit the music to the verses and give it its present look.In this edition we propose the version that every listener expects to hear when reading the title on the programme and, immediately after, one of the few original versions that have reached us in their entirety, that is the one set to music by Samuel Arnold (1740-1802) and available today in The British Minstrel, and Musical and Literary Miscellany, vol. 3, published in 1843.The proposed instrumentations are those of the classical string quartet and the cello quartet. Both variants are very simple to perform and are certainly suitable for small string ensembles formed in musical schools. In the cello quartet version, the only relatively complex part is that of the first cello, which should be left to the teacher or to a student able to play up to the 7th position without excessive troubles.I hope this music can bring you the serenity that made me prepare it.

Concert Band - Level 5 - Digital Download SKU: A0.1463453 Composed by Franz Liszt. Arranged by Michael Barrera. 19th Century,Classical,Romantic Period. 42 pages. Michael Barrera #1042149. Published by Michael Barrera (A0.1463453). Https://www.michaelbarreraflute.com/shop/p/mephisto-waltz1-band-scoreTwo Episodes from Lenau’s Faust | Mephisto Waltz No. 1Program NotesFranz Liszt’s first Mephisto Waltz is a programmatic work based on an episode from Nikolaus Lenau’s 1836 verse drama Faust.  The program note that appears in the original printed score is noted here:There is a wedding feast in progress in the village inn, with music, dancing, carousing.  Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities.  Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains.  The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods.  The sounds of the fiddle grow softer and softer, and the nightingale warbled his love-laden song. Mephisto Waltz No. 1 is paired with a work preceding it, Midnight Procession (Der Nächtliche Zug), however this piece is not as widely performed.  Liszt later transcribed the waltz into a piano duet and a virtuosic solo piano work.  Each of these versions were written around the same time, roughly 1859-62.  The orchestral version also has an alternate ending, which is softer and fades away.  This arrangement features both endings. This work was then followed by three more Mephisto Waltzes.  No. 2 was also written as both an orchestral and piano work, while Nos. 3 and 4 were for piano only.  Of the four, the first is the most popular, although the third is also praised as highly musically. InstrumentationWritten for Wind Ensemble of any size (Number indicates how many parts - some parts include divisi)1 Piccolo (doubles Flute 3)                                              2 Flutes2 Oboes2 Bassoons1 Clarinet (E flat)3 Clarinets (B flat)1 Bass Clarinet (B flat)1 Contrabass Clarinet (B flat)2 Alto Saxophones1 Tenor Saxophone1 Baritone Saxophone3 Trumpets (B flat)4 Horns (F)2 Trombones1 Bass Trombone1 Euphonium1 Tuba1 String BassTimpaniMarimbaCymbalTriangle.

Cello Solo - Level 3 - Digital Download SKU: A0.900288 By Taylor Swift. By Max Martin, Shellback, and Taylor Swift. Arranged by Liz Lee-Cellomoji. Pop. Individual part. 4 pages. Cellomoji #3574681. Published by Cellomoji (A0.900288). This is the cello transcription for I Did Something Bad by Taylor Swift. It is written in the original key off of the album Reputation. This is mainly written in g minor so knowing your Bb and Eb will be super helpful as well as the scale. Knowing where some notes are in 4th position on the cello on the A string will help with some of the high notes. However, you can always bring down the upper notes down one octave. I always recommend playing along with the recording because it is more fun and you can see how the part fits in. Get ready to rock out!Instagram: https://www.instagram.com/cellomojiYoutube: https://www.youtube.com/channel/UCS8SDY7dyqUR4P3t3qRPISgQuestions? https://cellomoji.com

String Ensemble,String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.870322 Composed by Traditional. Arranged by Markus Plattner (*1952). Blues,Gospel,Jazz,Spiritual,Standards. Score and parts. 17 pages. Markus Plattner #1791889. Published by Markus Plattner (A0.870322). Oh Them Gospel Strings! KumbayaThis arrangements for string trio (2 violins/viola/opt. cello) has strong connections with jazz and blues. It is in the form of melody/variations/reprise. The variations are written in free fantasy style, similar to a jazz musician improvising over a set number of bars and chords. If unsure, please refer to the audio recording to get an idea of how the arranger intended these pieces to be played. The optional cello part is scored mostly 8vb to the viola part. However, for sound purposes, the trio sounds better with viola instead of cello.Consider the other 3 available songs for download in the same series (Let Us Break Bread, Do Lord, Go Tell It On The Mountain). Also available is a publication containing all the songs (Oh Them Gospel Strings! for String Trio).Watch the Youtube Video with the scrolling score, Kumbaya starts at 0:51Degree of difficulty: medium to more difficultScore and parts 17 pages incl. cover, total length approx. 3’20 minutes.

Instrumental Duet,Piano Cello,Instrumental Duet,Piano,Violin - Level 4 - Digital Download SKU: A0.940598 By Matt Redman. By Jonas Myrin and Matt Redman. Arranged by Lauren Leigh. Christian. Score and parts. 8 pages. Pianospectrum.org.uk #3411673. Published by Pianospectrum.org.uk (A0.940598). An original arrangement for this popular song for a Small Ensemble of Piano, Violin & Cello at 4.28 minutes duration and would be ideal to play in a church setting, for example, before you sing the actual song or you can minister to the congregation during offering time or contemplation. It would work as an arrangement for a wedding whilst the guests are arriving or for the signing of the register and would be an ideal practice and performance piece for students and schools for a services like Christmas/Easter Concerts or Christian Union Events. I have suggested some bowing marks for the strings. However this down to your own interpretation, providing it is gentle and expressive. I am registered with PRS and my website is www.healingmusic.today should you wish to hear more original compositions. I write for all genres, Film & TV, worship & contemporary. Please let me know how you got on with this arrangement.  

Concert band - Digital Download SKU: IZ.CBS158-S Composed by Britt Burns. Score. 16 pages. Duration 7 minutes, 35 seconds. Imagine Music - Digital #CBS158-S. Published by Imagine Music - Digital (IZ.CBS158-S). 9 x 12 in inches.Distance was composed in early 2009 (and later revised in 2011) when I was feeling very homesick. The title wasinspired by the big change that comes when one relocates 1,000 miles away from familiar territory to begin a new life.Although this kind of event is very exciting, it also can create pain from the absence of friends and family. The music isintended to sound bittersweet in nature because it's meant to reflect both of these things.I don't usually try to write in a specific form, as I feel that can hurt the natural flow of how the music wants to develop.However, this piece is indeed in anABAform. Almost all of the thematic material in the piece is written in a major key,but with the goal of sounding a little sad. While writing this, I was heavily influenced by the music of Ennio Morriconeand Dan Forrest. There is a short motive used in the B section of the piece that is similar to a motive used in variousfilm themes. Since I associate this motive with Morricone, and because he is one of my all time favorite composers, Idecided to dedicate this piece to him.

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.510530 Composed by Blaise Smith, Derek Drym, Derek Drymon, Mark Harrison, Stephen Hillenburg, and Steve Hillenburg. Arranged by Mario Stallbaumer. Contemporary. Score. 2 pages. Mario Stallbaumer #4303375. Published by Mario Stallbaumer (A0.510530). “Are ya' ready, kids?Aye, aye Captain!�Here’s how to play the famous “SpongeBob SquarePants� Theme Song on piano!With this sheet music, you can play the SpongeBob Theme on piano, accompany singers, or sing along yourself. However, the whole melody is included in the piano arrangement - so it sounds great when it’s just played on an instrument, too!The theme music for the American animated television series SpongeBob SquarePants was composed by Hank Smith Music, consisting of Derek Drymon, Mark Harrison, Stephen Hillenburg and Blaise Smith, and is primarily based on the sea shanty, Blow the Man Down.Here are the full lyrics to the SpongeBob SquarePants Intro Theme Song:“Who lives in a pineapple under the sea?SpongeBob SquarePants!Absorbent and yellow and porous is heSpongeBob SquarePants!If nautical nonsense be something you wish!SpongeBob SquarePants!Then drop on the deck and flop like a fish!SpongeBob SquarePants!SpongeBob SquarePants!SpongeBob SquarePants!SpongeBob SquarePants!SpongeBob SquarePants!�

Organ - Digital Download SKU: A0.942949 Composed by Aris Antoniades. Contemporary,Sacred. Score. 20 pages. Aris Antoniades #4346549. Published by Aris Antoniades (A0.942949). Toccata & Fugue for Organ (2018)Composed by Aris AntoniadesRunning time: approx. 7' 50'' Writing for Organ always seemed like a very distant dream for me. Born and raised in Cyprus, an isolated Mediterranean island-state in Europe where the religious musical tradition (Greek Orthodox Christianity) relies solely on voices (no instruments used during services), I never had access to an Organ. In fact, to the best of my knowledge, there’s not a single Organ in my entire country. The first time I ever saw one was during my college years in New York – and it was love at first sight! I was fascinated by its sound capabilities, its mechanism, and the sheer skill required to play it. You can, therefore, understand how thrilled I am to have had the opportunity to write for this great instrument. I would like to sincerely thank Shannon Murphy and Austin Philemon for believing in my work, and for commissioning this piece. Both the Toccata and the Fugue are based on the same (but altered) motivic materials. The Toccata is a piece that was inspired by the idea that life is a continuous marathon, represented by the ‘mechanical’ sixteenth-note ostinato figure which never stops – despite the contrapuntal obstacles that are thrown within its path. The motive, however, does transform and adapt along the way, in order to make the best of the situation.  The Fugue, on the other hand, represents the cerebral aspect of life: the concept of choices. The ostinato motive of the Toccata has now morphed into the subject of the Fugue, which will be attacked by some violent chromatic enemies. Estimated running time: ca. 8 minutesAbout the PDFs:Score size: 14 PagesContact the composer: https://www.arisantoniades.com or aris.antoniades@gmail.com