Digital Download SKU: HX.325895 By John Denver. Arranged by J Arnold. Carol,Christmas,Holiday,Winter. Guitar Ensemble. 2 pages. Published by Hal Leonard - Digital (HX.325895).

Guitar Ensemble Guitar - Digital Download SKU: HX.325786 Arranged by J Arnold. This edition: scorch. Christmas,Instructional. Score. 2 pages. Published by Hal Leonard - Digital (HX.325786).

Arranged by J Arnold. Christmas; Holiday; Winter. Gtrens. 2 pages. Published by Hal Leonard - Digital Sheet Music (HX.325920). - gtrens - Christmas; Holiday; Winter - Hal Leonard - Digital Sheet Music

By Mel Torme. Arranged by J Arnold. Carol, Christmas, Holiday, Winter. GTRENS. 2 pages. Published by Hal Leonard - Digital Sheet Music (HX.325904). - GTRENS - Carol,Christmas,Holiday,Winter - Hal Leonard - Digital Sheet Music

Guitar Ensemble Guitar - Digital Download SKU: HX.325783 Arranged by J Arnold. This edition: scorch. Christmas,Instructional,Oldies,Winter. Score. 1 pages. Published by Hal Leonard - Digital (HX.325783).

Digital Download SKU: HX.325779 Arranged by J Arnold. Carol,Children,Christmas,Holiday,Instructional,Winter. Guitar Ensemble. 2 pages. Published by Hal Leonard - Digital (HX.325779).

Guitar Ensemble Guitar - Digital Download SKU: HX.325901 By Steve Tyrell. Arranged by J Arnold. This edition: scorch. Christmas,Holiday,Winter. Score. 2 pages. Hal Leonard - Digital #713201. Published by Hal Leonard - Digital (HX.325901).

Solo Guitar - Level 3 - Digital Download SKU: A0.920983 Composed by Karel Arnoldus Craeyvanger. Arranged by Rui Namora. Romantic Period. Individual part. 14 pages. Rui Namora #6139647. Published by Rui Namora (A0.920983). Karel Arnoldus Craeyvanger (Utrecht, 1817-1868) was a Dutch composer, singer, violinist and guitarist. Only two of his guitar compositions are known to date, the Trois Nocturnes and the Introduction & Variations sur un thème de l’ópera Freischütz (Weber). One third piece, Fantasy on a Schubert’s Lied, mentioned in a recital program in 1865, remains unknown.The Trois Nocturnes, composed and dedicated to Monsieur J. de Beyer, were published by Craeyvanger himself. Perhaps for this reason, the graphic quality of the original edition is poor, with some mistakes and inconsistencies.The minor mistakes were corrected and all fingerings are editorial. The 8vb marks, intended for guitar with additional basses are not original and therefore, optional.

Small Ensemble Alto Saxophone,Euphonium,Tenor Saxophone - Level 4 - Digital Download SKU: A0.835893 Composed by Kenneth J. Alford. Arranged by Paul Burnell. 20th Century. Score and parts. 9 pages. Paul Burnell #6612811. Published by Paul Burnell (A0.835893). Colonel Bogey March, Kenneth J. Alford, arranged by Paul Burnell for duet - instrument in Eb, instrument in BbDownload comprises both score and partsDuration 3:20Part 1 in Eb (Alto Clarinet, Alto Saxophone, Tenor Horn)Part 2 in Bb (Bass Clarinet, Tenor Saxophone, Euphonium) The arrangement may be suitable for other instruments with the same transpositions.Score shows parts transposed.The key of this arrangement has been transposed from that of the original composition.Programme note: The 'Colonel Bogey March' was composed in 1914 by Lieutenant F. J. Ricketts (1881 - 1945) a British Army bandmaster who later became the director of music for the Royal Marines at Plymouth. Since service personnel were, at that time, not encouraged to have professional lives outside the armed forces, F. J. Ricketts published his compositions under the pseudonym Kenneth Alford. Supposedly, the tune was inspired by a British military officer who preferred to whistle a descending minor third rather than shout Fore! when playing golf. It is this descending interval that begins each line of the melody. English composer Malcolm Arnold added a counter-march, which he titled 'The River Kwai March' for the 1957 film 'The Bridge on the River Kwai'. On account of the movie the 'Colonel Bogey March' is often incorrectly credited as the 'River Kwai March'.

Small Ensemble - Level 3 - Digital Download SKU: A0.835894 Composed by Kenneth J. Alford. Arranged by Paul Burnell. 20th Century. Score and parts. 37 pages. Paul Burnell #6612805. Published by Paul Burnell (A0.835894). Colonel Bogey March, Kenneth J. Alford, arranged by Paul Burnell for instruments in four partsDownload comprises both score and partsDuration 3:20Score in CThe arrangement is suitable for multiple quartet combinations with parts available (and potential instrumentations suggested) as follows:Part 1: C, Eb (Flute, Oboe, Alto Recorder, Eb Clarinet, Violin 1)Part 2: C, Bb, G (Alto Flute, Oboe, Tenor Recorder, Bb Clarinet, Violin 2)Part 3: C, Bb, Eb, F (Bb Clarinet, Bass Recorder, Alto Saxophone, Horn in F, Violin 3, Viola)Part 4: C, Bb, F (Bassoon, Great bass Recorder, Tenor Saxophone, Horn in F, 'Cello)Part 4 may be played an octave lower than written - using the 'Bass Clef up 8' part.Any other appropriate instruments, even if not suggested above, may play.The key of this arrangement has been transposed from that of the original composition.Play cue-sized notes in brackets where the main notes are out of range.In part 4, bars 37-54, the upper octave may be played where the lower notes are out of range or impractical.Programme note:The 'Colonel Bogey March' was composed in 1914 by Lieutenant F. J. Ricketts (1881 - 1945) a British Army bandmaster who later became the director of music for the Royal Marines at Plymouth. Since service personnel were, at that time, not encouraged to have professional lives outside the armed forces, F. J. Ricketts published his compositions under the pseudonym Kenneth Alford. Supposedly, the tune was inspired by a British military officer who preferred to whistle a descending minor third rather than shout Fore! when playing golf. It is this descending interval that begins each line of the melody. English composer Malcolm Arnold added a counter-march, which he titled 'The River Kwai March' for the 1957 film 'The Bridge on the River Kwai'. On account of the movie the 'Colonel Bogey March' is often incorrectly credited as the 'River Kwai March'.

Large Ensemble Euphonium,Percussion,Tuba - Level 5 - Digital Download SKU: A0.492494 Composed by Malcolm Arnold. Arranged by J.D. Handshoe. Classical. Score and parts. 28 pages. J.D. Handshoe #104343. Published by J.D. Handshoe (A0.492494). The Padstow lifeboat has a long, heroic and distinguished record. The new lifeboat station is near Trevose lighthouse, whose foghorn varies in pitch between middle C and D. For the sake of musical unity it remains D throughout this march.

Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.998337 Composed by Malcolm Arnold. Arranged by Martin J. Van Klompenberg. Contemporary. 25 pages. Martin J. Van Klompenberg #4969619. Published by Martin J. Van Klompenberg (A0.998337).

Handbells 3 Octave handbells - Level 2 - Digital Download SKU: H1.1567DP Arranged by Arnold B. Sherman. Education, General Worship. Handbell score. 4 pages. Hope Publishing - Digital #1567DP. Published by Hope Publishing - Digital (H1.1567DP). By J.S. Bach.Classical piece by J.S. Bach This version of Bis Du Bei Mir is a wonderful tune arranged by one who knows both bells and arranging. Set in straightforward manner, it is appropriate for church services, schools, or concerts. Few techniques make it a possibility for chimes as well. Measures total 45.

Easy Piano - Level 2 - Digital Download SKU: A0.1009415 Composed by Albert Hague and Arnold B. Horwitt. Arranged by Mark Phillips. Broadway,Jazz,Musical/Show,Standards. Score. 2 pages. A. J. Cornell Publications #615078. Published by A. J. Cornell Publications (A0.1009415). Young and Foolish (from Plain and Fancy) for Easy Piano.

Piano Solo - Level 4 - Digital Download SKU: A0.987080 Composed by Eric Paul Nolte. Contemporary. Score. 12 pages. Eric Paul Nolte #566749. Published by Eric Paul Nolte (A0.987080). This piece is one of an album of my contemporary classical compositions. Yes, I too wince at offering you something saddled with this oxymoron--contemporary classical--but this phrase is now an irresistible, commercially recognized category defying any principled protest from the ranks of wounded musicological curmudgeons like me.  The style here employs a tonal palette that celebrates the more or less common practice of composers from J. S. Bach to Ravel, Prokofiev, and the 20th century American songbook.  You will see that I reject Arnold Schoenberg's assertion that by 1910 tonality had exhausted itself, and needed to be reinvented according to an aesthetics that dismiss our scales and harmonies as purely arbitrary human conventions with no basis in nature. On the contrary, I believe that we are endowed by our nature to respond emotionally to our traditional materials of music in the same way as nature equips us to respond to the taste of food and drink. We differ in our taste for savory, sweet, and sour, but it is wrong to say that our very capacity to taste is a merely cultural convention. There is biology, and then physics too! By the same standard, it can't be true that one person's taste for arsenic is as valid as another's taste for beer or kumquats. The major triad is a force of nature, like the sun, wind, and rain! I also like big fat juicy 13 chords, and contrapuntal weaving of melody! I believe the purpose of music is to sway us emotionally, and if it can uplift us too, so much the better! While I am not ashamed to write a bare triad, unadorned by chromatic alterations (much less by clusters of chord collisions) I have nevertheless employed much complicated harmony. Moreover, some passages are written in a spiky harmony that might be analyzed as bitonal, as at the meno mosso section, beginning at measure 112, where the mood I wanted to set inspired me to write the theme in C minor while the left hand climbs up from the bottom of the keyboard in a widely spaced, D-flat 13 arpeggio.  I have composed these pieces with the skills of intermediate to early-advanced pianists in mind. This piece demands the ability to play some counterpoint between two voices in one hand. There is a section that requires one to play moderately fast octaves, but nothing as difficult as the G minor Prelude of Chopin (to say nothing of his harrowing octave Etude from Opus 25!) While there are many polyrhythmic passages, none is more complicated than two-against-three notes. All said, there is nothing here to make your hands (or, I dare say, your ears) bleed. The performing time is around nine minutes and a breath or three. I have a number of videos posted on YouTube.com, I have a website under construction, ericpaulnolte.com, and, since 2011, an occasional blog of my ravings on life, love, and the cosmos, at ericpaulnolte.blogspot.com. You may write me at nolte0125@gmail.com.