Woodwind Ensemble Flute - Level 4 - Digital Download SKU: A0.796737 By Justin Timberlake. By Johan Schuster, Justin Timberlake, Max Martin, and Shellback. Arranged by Gary D. Belshaw (ASCAP). Dance,Pop. 40 pages. DR GARY D BELSHAW #4301061. Published by DR GARY D BELSHAW (A0.796737). For Advanced Intermediate Flute Choir. 40 pages, including one sample part page for display here. Duration: 3 minutes.This uptempo, disco- and soul-pop number with punk influences debuted as Justin Timberlake's fifth U. S. No. 1 single and is one of the top 20 longest running No. 1 singles on the Adult Contemporary chart. This arrangements spreads the almost uncontrollable joy among all the players in your ensemble, and its appeal will be to young and old alike. It's difficult enough to wow and yet accessible enough for pop-music lovers and arts aficionados alike. An optional cut from Rehearsals C to I makes this an ideal encore on a recruiting or publicity tour: short, but...wow!Look for opportunities for percussive and/or beatbox sounds throughout.Thank you for considering this work; your reviews of my work are really important to me. Follow Gary D.Belshaw Music on Facebook and Twitter (@GaryDBelshawMus). A like on this Sheet Music Plus page will be deeply appreciated.Take pride in your copy of this work.   1. Avoid cheap 20-lb office supply paper. Invest a couple extra bucks in some 22- or 24-lb. paper.   2. Avoid bright white sheets: look for beige, tan, or natural paper.   3. Always use a smooth-finish paper stock.   4. One final thought: if you have access to a printer or copier that will take 9 x 12 stock, your pages will be more like traditional printed music in size. Obtaining paper stock with the other elements listed above will result in music sheets that would look startling similar to products from long-established publishing houses.

Woodwind Ensemble Clarinet - Level 4 - Digital Download SKU: A0.796738 By Justin Timberlake. By Johan Schuster, Justin Timberlake, Max Martin, and Shellback. Arranged by Gary D. Belshaw (ASCAP). Dance,Pop. 45 pages. DR GARY D BELSHAW #4302777. Published by DR GARY D BELSHAW (A0.796738). For Advanced Intermediate Clarinet Choir. 40 pages, including one sample part page for display here. Duration: 3 minutes.This uptempo, disco- and soul-pop number with punk influences debuted as Justin Timberlake's fifth U. S. No. 1 single and is one of the top 20 longest running No. 1 singles on the Adult Contemporary chart. This arrangement spreads the almost uncontrollable joy among all the players in your ensemble, and its appeal will be to young and old alike. Its Advanced Intermediate difficulty will be sufficient enough to wow and yet accessible enough for an audience filled with pop-music lovers and arts aficionados alike. An optional cut from Rehearsals C to I makes this an ideal encore on a recruiting or publicity tour: short, but...wow!Thank you for considering this work; your reviews of my work are really important to me. Follow Gary D.Belshaw Music on Facebook and Twitter (@GaryDBelshawMus). A like on this Sheet Music Plus page will be deeply appreciated.Take pride in your copy of this work.   1. Avoid cheap 20-lb office supply paper. Invest a couple extra bucks in some 22- or 24-lb. paper.   2. Avoid bright white papers: look for beige, tan, or natural paper.   3. Always use a smooth-finish paper stock.   4. One final thought: if you have access to a printer or copier that will take 9 x 12 stock, your pages will be more like traditional printed music in size. Obtaining paper stock with the other elements listed above will result in music sheets that would look startling similar to products from long-established publishing houses.

Choral Choir (SA) - Digital Download SKU: A0.873032 Composed by Sally Whitwell. Contemporary,Standards. Octavo. 6 pages. Sally Whitwell #3869015. Published by Sally Whitwell (A0.873032). Composer’s Note - DaybreakDuring the Winter of 2016, I journeyed to my hometown Canberra for a job interview and audition. It was for the head of the new Music Academy at Canberra Girls Grammar School, my old school. Which was kind of weird. As part of my specifically designed interview/audition experience, I was required to run a composition workshop, and this song D​aybreak ​is the result of that.It was an odd experience to return to the scenes of my youth, to see how much everything had changed. So many new buildings, so many of the old buildings repurposed, so many more opportunities afforded to the girls at the school now than we could ever have dreamed in the late 80s and early 90s. It was pretty early in the morning when I arrived, the winter mist just beginning to clear to one of those perfect sunny cold Canberra days. The school is directly down the road from Parliament House, and as the mist cleared to reveal that magnificent flagpole above the treetops surrounding the school, I decided that the joy and optimism of a new day would be the perfect subject for our composing collaboration.The girls were very generous with their ideas. The song was finished within a few days and I sent it back to the school. I ​think​ they liked it? It was hard to tell from their response. I didn’t get the job. (No surprise to me, as I have almost never been successful at auditions and job interviews. Fortunately people just know my work, ask me to do stuff, and I just say yes. Haha.) But I’m a big believer in creativity as a way of healing. I still really like our song we wrote, those lovely girls and I, so I am releasing it into the wild.

Piano Solo - Level 2 - Digital Download SKU: A0.1468149 By Damien Gauci. By Damien Gauci. Contemporary,New Age. Score. 4 pages. Damien Gauci #1030402. Published by Damien Gauci (A0.1468149). I always enjoy writing something simple but pretty and this piece is exactly that. As with many of my other piano compositions, I enjoy writing them in the style of “soft piano” pieces which you can listen to while you study, work, relax, or anything else. I initially came up with the original motif at the start of the piece which I really liked and expanded it into a full piece. When coming up to the B section I made it too dramatic and it would probably be too distracting for the listener if they were working or studying so I decided to start over with the B section and write something that expanded upon the original motif in a subtle and sweet way.I am quite pleased with the finished composition, it turned out in a way that I was aiming for from the beginning. As for the title, I sat down after I had finished writing the piece and listened to it a few times and brainstormed some names. I eventually settled on the name that it is now: ‘Some Things Don’t Always Last’ which has a bitter-sweet quality to it. I think it fits quite well with the piece as it’s like a lullaby that comes and goes. A distant memory that is recalled because of an old toy you found or because you drove past your childhood home that you grew up in.

Full orchestra - Grade 6 - Digital Download SKU: IZ.OMW072 Composed by Keith Dippre. Score and Parts. 239 pages. Imagine Music - Digital #OMW072. Published by Imagine Music - Digital (IZ.OMW072). 9 x 12 in inches.By Keith Dippre. Each of the three movements deals with symbols, specifically those that have autobiographical significance to the composer. The first movement, Klee on Loan, pays homage to the famous abstract expressionist painter. The gestures are traditional and all easily identifiable, from the sweeping Mahleresque beginning to the Bartok meets The Rolling Stones motifs found at mid movement. These are the composer's attempts to represent Klee's crosses and arrows through some familiar and abstract sound. Klee's genius, I believe, is found in his ability to make very generic symbols very abstract. The second movement, Roadside Memorial, is a musical journey that goes the route of a dangerous and ominous highway replete with roadside crosses and flowers. Present are the sounds of radio static and the motorist's attempts to find an interesting station in the midst of a punishing blizzard, all the while praying to make the trek safely home. Ikonoklastic is the third and least serious movement of the three, sporting a playful and somewhat schizophrenic waltz. There are childlike melodies set against more serious romantic style gestures. The blending of the serious with the less serious at times combines to create contrapuntal moments. The final movement is the most sublime of the four, and it is solely based upon a loping, adieu-like gesture. The line is continually recycling itself, and the piano takes the role of psychopomp as it escorts the movement to its out of body conclusion.

Small Ensemble Drums,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.802682 By Stylianos Vlavianos. By R. Constantinos. Arranged by Peet du Toit. Contemporary. Score and parts. 14 pages. Peet du Toit #6411871. Published by Peet du Toit (A0.802682). My Friend The Wind is a song by Greek singer Demis Roussos. It was released as a single in 1973.The song was included on Roussos' 1973 album Forever and Ever.Artemios Demis Ventouris-Roussos (15 June 1946 – 25 January 2015) was a Greek vocalist and performer who had an internationally acclaimed career, as a single recording artist and bandleader. As a band member he is best remembered for his work in the progressive rock music act Aphrodite's Child, but as a vocal soloist, his repertoire included hit songs like ‘’Goodbye, My Love, Goodbye’’, ’’From Souvenirs to Souvenirs’’ and ’’Forever and Ever’’.Roussos sold over 60 million albums worldwide and became an unlikely kaftan-wearing sex symbol.Well, here's my impression of this famous song on brass (wind) instruments which I hope you and your audiences will enjoy.

String Orchestra - Level 3 - Digital Download SKU: A0.1266273 Composed by Antonio Vivaldi. Arranged by Snakewood Editions. Baroque,Classical. Score and Parts. 12 pages. Sneakwood Editions #859004. Published by Sneakwood Editions (A0.1266273). The autograph is held in the Biblioteca Nazionale Universitaria di Torino (I-Tn, Giordano 34, Bl. 100-102). It is the only known copy of this work. The work was surely composed between 1725 and 1734.[2]  It is copied in full score format.In the known catalog of Vivaldi’s works we find another piece that shares the same title, it is the Sonata à 4 al Santo Sepolcro (Sonata in E flat major RV 130). Both pieces feature a similar structure: a slow introduction and a fugal movement.Sepolcri, or oratorios for the sepulchre, were a kind of composition that was performed at the Viennese courts during Holy Week. These were semi-staged oratorios. The examples that survive by Caldara or Fux show how the introductions of these oratorios always had the same scheme: a slow introduction followed by a fugal movement, just like the RV 169 and RV 130.These compositions are undoubtedly inspired by the Viennese, although it seems unlikely that Vivaldi wrote them as a commissioned work. However, it is possible that they were composed to support his application to the Viennese court.It is also quite probable that these pieces were intended to accompany some of the liturgical actions that were celebrated between Holy Thursday and Holy Saturday, such as the visit to the Sepulchers in Venetian churches.

Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859668 Composed by Sydney Stevens. Folk,New Age,Pop. 7 pages. Sydney Stevens, Water Music #2959571. Published by Sydney Stevens, Water Music (A0.859668). Contact: sydneystevenspianostudio@gmail.comBack to the Heart: Emotional, heartfelt piano/vocal composed by Sydney Stevens (ASCAP). Sheet music arrangement is for piano/vocal/chords. From Album: Cycles of Life Theme: Going away, the sister that I know. Estrangement from someone who was once close. Mood: Serious, reflective, sad, emotionally moving. Musical Traits: Simple left hand piano, right hand reflects vocal part. Performance Time: 3:50 Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusic More Links: www.sydneystevenswatermusic.comhttp://www.linkedin.com/in/sydney-stevens-532a113a BIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to accompany them.In addition to being a prolific.

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801548 Composed by Connie Boss. Christian,Christmas,Gospel,Sacred. Score. 4 pages. Connie Boss #6097477. Published by Connie Boss (A0.801548). This is version number 2 of this song. I decided to make an SATB version of the first one I did that was a duet. I decided to change the bridge. I decided I really liked it, so I condensed it somewhat into a duet with the new bridge. You can listen to both and decide which one you like better. I really love this song because when I wrote it, I thought back about how life would have been back in those days as apposed to life today. In some ways, life was much simpler, but at the same time a hard life. Today is similar but in a different way. Some things are easier but life is not as simple as it once was. I can't imagine an angel appearing before me and giving me a message from God as what happened to Mary and Joseph. cdboss@cvalley.net. Lyrics below.

Large Ensemble Voice - Digital Download SKU: A0.869339 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Pluto … The Lord of the Underworld. (2005) This year, 2009, he asked me if I would be interested in writing a work for narrator and chamber orchestra like Prokofiev’s “Peter and the Wolf.â€Â� I said, “Yes. I would be delighted to do so.â€Â� He. 90 pages. Thomas Oboe Lee #32449. Published by Thomas Oboe Lee (A0.869339). Program note. Maestro Charles Ansbacher has been a devoted supporter of my work for many years. In the past 6 years he has commissioned me to write two works for his ensemble, the Boston Landmarks Orchestra: 1) Mambo!!! (2003) 2) Pluto … The Lord of the Underworld (2005) This year, 2009, he asked me if I would be interested in writing a work for narrator and chamber orchestra like Prokofiev’s Peter and the Wolf. I said, Yes. I would be delighted to do so. He told me that the subject for this work would be Boston’s own landscape architect, Frederick Law Olmsted. Sure, I said, why not? Charles told me he had a poet in mind who would provide the text, Nancy Stevenson. I said, Great! The work is in four parts, following Ms. Stevenson’s poetic design. I wrote a marching music in Part One depicting Mr. Olmsted when as a child he walked from his home to his aunts and uncles who lived far away. As a young man, Mr. Olmsted went through many jobs until he decided that as a landscape architect he could make cities a better place for children and adults alike. The mayor of Boston hired him to do just that, to make Boston more livable. In Part Two, I wrote presto music depicting the dredging of the Charles River and the planting of trees along its shores. In Part Three, the text describes the Boston Emerald Necklace – the paths that lead from the Fens to the Arboretum to Franklin Park. For this section I chose music that is bucolic and pastoral, a setting that evokes the country side with a flock of sheep, complete with a shepherd and his dog. In the last section the text describes Mr. Olmsted’s dream that in his parks there would be tranquility and rest to the mind … a place where the rich and the poor would play together. The music returns to the legato march that began the work.

Large Ensemble Voice - Level 4 - Digital Download SKU: A0.869309 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Pluto … The Lord of the Underworld. (2005) This year, 2009, he asked me if I would be interested in writing a work for narrator and chamber orchestra like Prokofiev’s “Peter and the Wolf.â€Â� I said, “Yes. I would be delighted to do so.â€Â� He. 90 pages. Thomas Oboe Lee #431371. Published by Thomas Oboe Lee (A0.869309). Program note. Maestro Charles Ansbacher has been a devoted supporter of my work for many years. In the past 6 years he has commissioned me to write two works for his ensemble, the Boston Landmarks Orchestra: 1) Mambo!!! (2003) 2) Pluto … The Lord of the Underworld (2005) This year, 2009, he asked me if I would be interested in writing a work for narrator and chamber orchestra like Prokofiev’s Peter and the Wolf. I said, Yes. I would be delighted to do so. He told me that the subject for this work would be Boston’s own landscape architect, Frederick Law Olmsted. Sure, I said, why not? Charles told me he had a poet in mind who would provide the text, Nancy Stevenson. I said, Great! The work is in four parts, following Ms. Stevenson’s poetic design. I wrote a marching music in Part One depicting Mr. Olmsted when as a child he walked from his home to his aunts and uncles who lived far away. As a young man, Mr. Olmsted went through many jobs until he decided that as a landscape architect he could make cities a better place for children and adults alike. The mayor of Boston hired him to do just that, to make Boston more livable. In Part Two, I wrote presto music depicting the dredging of the Charles River and the planting of trees along its shores. In Part Three, the text describes the Boston Emerald Necklace – the paths that lead from the Fens to the Arboretum to Franklin Park. For this section I chose music that is bucolic and pastoral, a setting that evokes the country side with a flock of sheep, complete with a shepherd and his dog. In the last section the text describes Mr. Olmsted’s dream that in his parks there would be tranquility and rest to the mind … a place where the rich and the poor would play together. The music returns to the legato march that began the work.

Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.928974 By The Beach Boys. By Brian Wilson and Gary Usher. Arranged by Donald A. Mills, 2019. A Cappella,Pop,Rock. Octavo. 3 pages. Donald A Mills #4351149. Published by Donald A Mills (A0.928974). In My Room, by The Beach Boys.  This gentle song may be sung as a prayer, with tenderness. Your audiences will love the melody and harmonies. This arrangement by Donald A. Mills is for barbershop as a quartet or chorus. It is TTBB (TLBB) a cappella, sung softly, sweetly, legato, singing the four dotted quarter notes as a 3/4 time. The Beach Boys have mentioned that they wrote In My Room in 12/8 time because they had tired of the 3/4 time many songs of the day were written in. From Wikipedia, Gary Usher explained that 'In My Room found us taking our craft a little more seriously. Brian and I came back to the house one night after playing 'over-the-line' (a baseball game). I played bass and Brian was on organ. The song was written in an hour... Brian's melody all the way. The sensitivity... the concept meant a lot to him. When we finished, it was late, after our midnight curfew. In fact, Murry [the Wilson brothers' father] came in a couple of times and wanted me to leave. Anyway, we got Audree [the Wilson brothers' mother], who was putting her hair up before bed, and we played it for her. She said, 'That's the most beautiful song you've ever written.' Murry said, 'Not bad, Usher, not bad,' which was the nicest thing he ever said to me. Gary Usher (who co-wrote the lyrics with Brian Wilson) further describes that Brian was always saying that his room was his whole world. Brian seconds this opinion: I had a room, and I thought of it as my kingdom. And I wrote that song, very definitely, that you're not afraid when you're in your room. It's absolutely true. In 1990, Brian wrote, I also enjoyed producing 'In My Room'. There is a story behind this song. When Dennis, Carl and I lived in Hawthorne as kids, we all slept in the same room. One night I sang the song 'Ivory Tower' to them and they liked it. Then a couple of weeks later, I proceeded to teach them both how to sing the harmony parts to it. It took them a little while, but they finally learned it. We then sang this song night after night. It brought peace to us. When we recorded 'In My Room', there was just Dennis, Carl and me on the first verse...and we sounded just like we did in our bedroom all those nights. This story has more meaning than ever since Dennis' death.

Piano Solo - Level 2 - Digital Download SKU: A0.1425803 By Damien Gauci. By Damien Gauci. Contemporary,New Age. Score. 6 pages. Damien Gauci #1006563. Published by Damien Gauci (A0.1425803). This is probably one of my favourite pieces, it really turned out how I wanted it to. The opening bars at the beginning of the piece introduce us to the style of the piece and provide short fragments of the motifs that are to come later in the piece. In bar 9, the main theme of the piece is introduced which is a arpeggiated open-voiced chord starting in the left hand followed by the right hand. That ope-voiced chord is one of my favourite chord voicings as it just has a beautiful airy sound and that’s what I wanted the focus of this piece to be.I wanted to change things up in the middle section as you can hear with the left that takes the melody and the right plays a chordal accompaniment. This is actually a little homage to a piece I learnt on the piano when I was younger, there was a section similar to this that I really liked the style and writing of so I decided to use it in this piece. One last thing, this piece was originally called ‘Cloudy Day’ and it was a standalone piece but I changed the name when I added it to this album to keep it one word like the other pieces.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1262362 Composed by Sally Whitwell. 21st Century,Contemporary. Octavo. 17 pages. Sally Whitwell #855402. Published by Sally Whitwell (A0.1262362). On the morning of 2 March 2020, I finished writing the first draft of this song. It was the same morning that the New South Wales Rural Fire Service announced that for the first time since July 2019, the state was free of active bush and grass fires.At the time it felt quite euphoric. We’d been through a lot. Little did we know what was coming just a few days from then, when the Covid19 global pandemic reached our shores. It’s a virus that would kill millions across the world, and disable millions more, long term. It forced us, globally, into a kind of reckoning the like of which we had never experienced before. Non pharmaceutical controls like lockdowns, mask mandates, social distancing and ventilation standards were employed to keep us safe from this airborne virus, whilst scientists worked round clock to develop vaccines and treatments.Technically, the declaration of a pandemic is still active, but governments and people have somehow decided for themselves that it is all over. No one takes any precautions any more. Governments have stopped reporting statistics. People who know they are infected are going about their business with no thought for others. Meanwhile, many of the immune-compromised, the disabled, the vulnerable, are unable to safely leave their homes and engage in activities out in the world. I know this, because I am a carer for a vulnerable person.What this whole exercise has taught me is that people in the world are actually much less kind than I thought they were. Humans do not really care for each other. People attack me for wearing a mask, tell me that I’m virtue signalling and that I look ridiculous (as if I care how I look). I’ve asked questions about workplace Covid safety and been informed that it’s “a bit rich� that I’m asking at all, when everything is now safe. A friend’s diagnosed Long Covid symptoms were cruelly minimised or completely dismissed “Oh, it’s not Covid. How old are you? In your forties? It’s your hormones, it’s the menopause.� The fatal combination of sheer selfishness, rampant misinformation and DISinformation continues, whilst people waltz around spreading a deadly virus with no thought for the grief that will undoubtedly ensue.It boils down to this: if we want to continue as a species and to have a planet on which to reside, we have to stop with the Self Care and start with the Community Care. A choir is the perfect instrument for expressing these notions, through the unique power of the massed first person plural. My wish for this piece is that it spurs performer and listener alike into some kind of action. Please consider the effect your actions have on others, and on the planet, and make any changes necessary, however inconvenient or difficult they are. Otherwise, there’s really no point.Sally Whitwell 11 July 2023.

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.553894 Composed by Joseph Haydn/Leopold Mozart. Arranged by Ray Thompson. Children,Christmas,Classical,Standards. 35 pages. RayThompsonMusic #6050327. Published by RayThompsonMusic (A0.553894). This work was long reputed to be the work of Joseph Haydn, but later scholarship suggested that it was actually written by Leopold Mozart. Its authorship is still disputed, however, and other composers have been proposed as the symphony's true author, including Joseph Haydn's younger brother Michael Haydn, who purportedly contributed movements to the work.Recent research on a newly found manuscript suggests the Austrian Benedictine monk Edmund Angerer (1740–1794) to be the author. If Angerer's manuscript (from 1765, entitled Berchtolds-Gaden Musick) is the original, the Toy Symphony was originally written not in G but rather in C. These findings, however, are disputed among scholars. There is reason to believe that the true composer will likely never be known, in whole or in part, given its confused origins and the paucity of related manuscript sources.Even without a name attached to it, the piece has become a mainstay for children's shows and Christmastime concerts. Each of its three movements features the sounds of actual toys and instruments that sound like they came straight from Geppetto's workshop. The piece calls for a toy trumpet, ratchet, nightingale, cuckoo, drum, and triangle. ( A quail makes it’s only appearance in the 2nd movement.Noisemakers rattle throughout the first of its three movements. The cuckoo and trumpet  call out mischievously during the minuetto of the second movement , and a quail joins the nightingale in the trio. In the short third mvt which is played 3 times, they all play again, each repeat faster than the previous one.The presence of the toy instruments make this a fun piece for children to play, especially when there are also some toys waiting under the tree.My arrangement is based on the Kinder-Symphonie attributed to Leopold Mozart. It is scored in C.It is in 3 mvts and is arranged for wind quintet, and toy percussion.It can be peformed as a stand alone  wind quintet without percussion as all of the important cues (the trumpet and cuckoo) are written in to the instrumnt parts.i have distributed the original strings around the woodwind, and composed an original classical horn part.Sometimes known as The Children’s SymphonyAlso available as a wind dectet/bass arrangement.