Composed by Various. Arranged by Colin Kirkpatrick. Christian, Praise & Worship, General Worship, Christmas. Score, Set of Parts. 125 pages. Published by Colin Kirkpatrick Publications

Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Piccolo - Level 2 - Digital Download SKU: A0.845121 Composed by Phil Beaman. Christmas,Folk,Jazz,Multicultural,Spiritual,World. Score and parts. 15 pages. Phil Beaman #6206351. Published by Phil Beaman (A0.845121). Pure Caribbean. Pure energy. This tune is from a West Indian carol, so it has Christmas origins, but you could use it anytime of the year when you want to have fun. The two instruments are sometimes in unison, sometimes in harmony, and sometimes 'playing tag' (alternating phrases). Contains 2 key changes, some dynamic echoes, but always with a driving island rhythm. The piano part adds power and drive to the piece.

Brass Ensemble Euphonium,Trombone,Trumpet - Digital Download SKU: A0.636888 Composed by Traditional. Arranged by Ivan R. Brand. Sacred,Spiritual,Standards,Traditional. Score and parts. 20 pages. Ivan Brand #245968. Published by Ivan Brand (A0.636888). This medley is the first in a series of Spiritual Medleys. In each medley, three or more familiar spirituals are nicely reconfigured and linked together in medley format. In this medley, the spirituals include Deep River, Swing Low Sweet Chariot, and Do Lord. The music progresses from a beginning feeling of thoughtful longing in Deep River, and grows continuously to an exuberant final section with Do Lord which celebrates the text I've Got a home in Gloryland! Tambourine and Piccolo (flute) add wonderfully to this joyfuf ending. Your instrumentalists and audiences will very much enjoy this piece. Separate parts are provided for alternate instruments - alto sax (for trombone), and bass guitar (for euphonium). A great alternative configuation for the standard brass quartet consists of 2 trumpets, tenor sax, and bass guitar.

Instrumental Duet Instrumental Duet,Piccolo - Level 2 - Digital Download SKU: A0.612839 Composed by Jean Baptiste Loeillet of Ghent (1688 â?? 1720). Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditional,Wedding. Score and parts. 59 pages. Jmsgu3 #222035. Published by jmsgu3 (A0.612839). John Baptist Loeillet, a Flemish Baroque composer, wrote six sonatas for flute and basso continuo in his Op. 5 No. 2. This work is widely considered to be some of his most significant compositions, and they are still performed today.The sonatas are divided into three movements each, with two slow movements and one faster one. The flute part is very demanding, as Loeillet often wrote in the high register, and the accompanying basso continuo part provides a solid foundation for the piece. The music has an emotional intensity that was characteristic of the Baroque era, and it features various ornamentations, like trills and mordents. The influence of Corelli can be heard in the contrapuntal textures, and the melodic lines are often based on the scales and modes of the period.Loeillet's Op. 5 No. 2 is a beautiful and captivating work, and its timelessness is a testament to its quality. It has been transcribed and adapted for other instruments, and it remains a popular choice for many classical musicians.Contents:Sonata No. 1 Duration: 9:45 Score: 8 pages 1. Vivace 2. Affetuoso e Poco Vivace 3. Allegro 4. Largo 5. AllegroSonata No. 2 Duration: 16:00, Score: 12 pages 1. La¬rgo 2. Allegro 3. Largo 4. Vivace 5. Vivace 6. Largo 7. GigaSonata No. 3 Duration: 19:20, Score: 14 pages 1. Vivace 2. Largo 3. Gavotto â?? Allegro 4. Sarabanda 5. Allegro 6. Largo 7. Menuet 8. Giga - AllegroSonata No. 4 Duration: 11:08, Score: 10 pages 1. Vivace 2. Gavott 3. Largo 4. Allegro 5. Sarabanda - Largo 6. AllegroSonata No. 5 Duration: 7:49, Score: 7 pages 1. Largo 2. Allegro 3. Largo 4. GavottSonata No. 6 Duration: 9:42, Score: 8 pages 1. Andante 2. Adagio 3. Allegro 1 4. Allegro 2.

Instrumental Duet Flute,Instrumental Duet,Organ - Digital Download SKU: A0.853195 Composed by Hans-Andre Stamm. 20th Century,Concert,Folk,Latin. Score and parts. 16 pages. Hans-Andre Stamm #5869661. Published by Hans-Andre Stamm (A0.853195). Beginning as a dialog, in which the main theme alternates between both instruments, the piece gets its drive through the typical syncopated rhythms of Latin music, which leads to a middle section, which develops into a somewhat impressionistic landscape and then returns to the joyful mood of the beginning. Duration: 4.30 min. Youtube Link here: www.youtube.com/watch?v=se064YsXjFc&t=88s

Concert Band - Level 4 - Digital Download SKU: A0.1024218 Composed by Blake Mathieson. Contemporary,World. Score and parts. 22 pages. Blake Mathieson #2884421. Published by Blake Mathieson (A0.1024218). 22 pages. Size A4.This is the conductor's book for the song Kyrgyz Rhythms. This book should be used when conducting a concert band. It contains the parts for Piccolo, Flute, Oboe, B flat Clarinet, Alto Saxophone, B flat Trumpet, Tenor Saxophone, French Horn in F, Bass Clarinet, Baritone Saxophone, Bassoon, Euphonium, Trombone, Bass Drum and Snare Drum. The piece uses the whole ranges of these instruments, from the A1 that can be played by the Bassoon and Trombone, to the C8 that is required from the Piccolo. Many of these instruments need to use techniques to utilise their full range, so make sure your instrumentalists are skilled and knowledgeable.The song has a lot of rhythmic and melodic diversity, and switches tempo and key signature frequently. The keys used are C major, F major, G major and E minor, not too difficult. Some of the rhythms can be quite hard to grasp, and instrumentalists must be able to play quick notes with accuracy. Again, make sure your instrumentalists are well learned for this. The song has a set of melodies, that are divided up by three bar percussion solos. Many of the instruments play solos or solis throughout the song, which it can be good for developing an instrumentalist's ability to stay calm on stage. The song should also improve their ability to play some complex rhythms at quite a fast speed.

Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3464701. Published by jmsgu3 (A0.549210). A musical monument: the first composition to employ dynamics. Instrumentation: 1 piccolo, 5 concert flutes, 1 alto flute, 1 bass flute 1 cello. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Piccolo - Level 3 - Digital Download SKU: A0.1166937 By Sharon Wilson. By Daniel W. Whittle, Mary Whittle, and May Whittle Moody. Arranged by Sharon Wilson and Sharon Wilson Music. Christian,Easter,Praise & Worship,Romantic Period,Sacred. Score and parts. 25 pages. Sharon Wilson #767315. Published by Sharon Wilson (A0.1166937). Here is a flowing and meditative instrumental trio arrangement (for FLUTE duet with PIANO accompaniment) of the peaceful hymn Moment by Moment by Daniel Whittle and Mary May Whittle Moody.Both FLUTES get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners.  This encouraging and uplifting instrumental arrangement is an ideal selection for a church setting and a valuable addition to the sacred repertoire of woodwind players. Duration 3:00. The range for both FLUTE parts is the same: G4 to D6 The purchase price includes these printing options: 1. a grand staff (11 pages) with all parts on each page2. separate scores for the FLUTE parts (2 pages each) and PIANO (4 pages)3. a combined FLUTE 1 and FLUTE 2 score (4 pages) Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusicCover Image Credit: Monarch Butterfly during winter migration in Santa Cruz, California, captured by the arranger

Large Ensemble,Mixed Percussion,Strings Bass Voice,Clarinet,Digital Keyboard,Double Bass,Drum Set,Drums,Electric Bass Guitar,Electric Guitar,Electronic Keyboard,Flute,Harp,Horn,Marimba,Oboe,Percussion,Piano and Keyboard,Piccolo,Recorder,Rhythm Instrument,String Synthesizer,Treble Clef Instrument,Trombone,Trumpet,Tuba - Digital Download SKU: A0.1159705 By Capital Cities. By Ryan Merchant and Sebouh Simonian. Arranged by Frank Bernaerts. 20th Century,Broadway,Disco,Musical/Show,New Age,Pop. Score and parts. 6 pages. Amphibia Cultural Legacy #759964. Published by Amphibia Cultural Legacy (A0.1159705). Amphibia Cultural Legacy has created a masterpiece with its remix of Safe and Sound, originally by Capital Cities. This rocking-disco dancing instrumental duet cover is taken to another level with extra instruments. The result is an electrifying, upbeat version that will get anyone on the dance floor.The remix starts with a catchy beat that hooks the listener. As it progresses, more instruments, such as saxophone, trumpet, and guitar, add depth and complexity to the magnificent piece. Combining electronic and live instrumentals creates a unique, contemporary, and classic sound. Safe and Sound was already a hit when it first came out, but Amphibia Cultural Legacy's remixed version takes it to new heights. Thanks to its infectious rhythm and energetic vibe, it has become a fan favorite at clubs and parties worldwide.

Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3460719. Published by jmsgu3 (A0.549201). Instrumentation: 2 piccolos, 3 concert flutes, 1 alto flute, 1 bass flute, 1 cello. Arranged in two antiphonal choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg ea. Duration: ca. 3:00 Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Full Orchestra - Level 4 - Digital Download SKU: A0.1121285 By Wings. By Linda McCartney and Paul McCartney. Arranged by Seán Ó Cléirigh. 20th Century,Broadway,Film/TV,Musical/Show. Score and parts. 35 pages. Seán Ó Cléirigh #722453. Published by Seán Ó Cléirigh (A0.1121285). Arranged for Piccolo, Flutes 1 @ 2, Oboe, Clarinets 1 & 2, Bassoon, Horn, Trumpet, Trombone, Drumset, Violins 1 & 2, Viola, Cello and Double Bass. This arrangement allows the ensemble to reflect the original film music without the facilities of an extensive orchestra and without overtasking the instrumentalists. It is in an easy key and suitable for professional or amateur groups. As an orchestral and jazz doublebassist over decades I appreciate the limitations of both instruments and the people who play them.

Concert Band - Level 2 - Digital Download SKU: A0.917396 Composed by Gregory Fritze. 20th Century,Classical,Contemporary. Score and parts. 125 pages. Musica Nova USA #4821537. Published by Musica Nova USA (A0.917396). Kristenmark Overture was commissioned and composed for the Symphonic Wind Ensemble of the University of Minnesota Duluth, Mark Whitlock conductor and the Symphony Band of the University of Wisconsin River Falls, Kristin Tjornehoj, conductor.The name Kristinmark are the first names of both conductors.It has been played many times in Europe, South America and the United States. It is often used in honor band festivals as it fits the level of difficulty (grade 4) for the average high school band festival and good duration for such events – seven minutes. The piece is in a clear Sonata Allegro form and includes short solos for trombone, horn, alto sax, trumpet, timpani, snare drum, tuba, oboe, crotales, flute, piccolo, bassoon, euphonium and clarinet. Non of the solos are very long or difficult. The solos are meant to feature as many musicians as possible. In some cases, alternate instruments have cues if particular instrumentalists are not strong performers . In 2017 Kristenmark Overture was submitted to The American Prize Composition Contest, Band Division. It placed as a Semi Finalist that year.Kristenmark Overture can be heard by the Brazilian Wind Orchestra, conducted by Dario Sotelo at: http://www.youtube.com/watch?v=bk-PvXTvxy8

Large Ensemble - Level 3 - Digital Download SKU: A0.522149 Composed by Pedro Figueredo (1818-1870). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 38 pages. Colin Kirkpatrick Publications #3507973. Published by Colin Kirkpatrick Publications (A0.522149). REPUBLIC OF CUBA: El Himno de Bayamo This national anthem arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. Although it's primarily designed for band, you can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. This arrangement consists of a four-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same 38-page PDF file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (oboe, glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets (9th above concert pitch); Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat        (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below Part 3 in B flat for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, cello, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction.   Parts 1a and 2a are provided because Parts 1 and 2 are too low to be comfortably played by flute and piccolo. By using these parts you can create a high woodwind tone above the other instruments.   The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.