Tenor Saxophone Solo - Level 4 - Digital Download SKU: A0.839223 By Charlie Byrd W/the Walter Raim Strings. By Antonio Carlos Jobim. Arranged by Bobby Hesch. Contemporary. Individual part. 3 pages. Bobby Hesch #5358507. Published by Bobby Hesch (A0.839223). ***MEDITATION***!!! IT'S ALL ABOUT STYLE, MUSICIANSHIP, EXPRESSION!!!LET'S PLAY SOME JAZZ!!! EVERYTHING YOU NEED IS HERE!!! YOU MUST ADD THE TRANSPARENT SOUND, THE FEATHER-LIGHT TOUCHBEAUTIFUL, ROMANTIC, SENSITIVE, THEN THE CLIMAXES!!! CHECK OUT THE MP3 FOR JAZZ STYLE & INTERPRETATION!!! KEY OF C!!! LOW E-HIGH Eb!!! THINK OF GIRL FROM IPANEMA, WAVE, SAME STYLE!!!   ENDPLAYS FREELY!!! CONTACT INFORMATION:bobbyhesch@yahoo>com

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.775985 Composed by Carson Cooman. Contemporary,Instructional. Octavo. 22 pages. Musik Fabrik Music Publishing #2035131. Published by Musik Fabrik Music Publishing (A0.775985). In the Midst of Wild Being (2007) for SATB chorus, horn, and harp was commissioned by the King’s Chapel Concert Series, Heinrich Christensen, director, with the support of Choral Arts New England. The work was written in memory of American composer Daniel Pinkham (1923–2006), longtime director of music at King’s Chapel. The texts, written by American poet Elizabeth Kirschner, are directly inspired by the landscape of New England-though the sentiments reflected by the poems can apply to many places. Throughout, the focus is on the chorus, whose music is colored by the horn and harp. The Garden begins with an extended, unfolding introduction for horn and harp; the pace is that of a slow, steady walk. Though the pace remains, the music raises itself to rich climaxes in celebration of the verdant landscape. The Sea is a light and airy dance featuring a bouncy melodic theme that returns a number of times. The Forest is rich and expressive, reflecting true oneness with the landscape.

Easy Piano - Level 1 - Digital Download SKU: A0.1181259 By Yann Tiersen. By Yann Tiersen. Arranged by Fabio Eduardo de Oliveira. Classical,Film/TV. Score. 2 pages. Fabio Eduardo #781096. Published by Fabio Eduardo (A0.1181259). FREE DOWNLOAD PLAYBACK https://www.fabioeduardomusiconline.com/freedownloadLa Valse D'amelie from the album Amélie. These songs were the soundtrack for the French Academy Award winning motion picture film 'Le Fabuleux Destin d'Amélie Poulain. Yann Tierson is a noted French composer, most famous for Amélie. His music is mostly composed for piano, harpsichord, violin, and accordion. The animation is from Aniboom Animations, describing life as a song. The depiction is more on a meloncholy scale, describing the major climaxes of the life of an old man as his wife's death, his friend's death on the battlefield, and the rapture of his grandson.

Cello Solo - Level 2 - Digital Download SKU: A0.1181249 By Yann Tiersen. By Yann Tiersen. Arranged by Fabio Eduardo de Oliveira. Classical,Film/TV. Individual part. 2 pages. Fabio Eduardo #781086. Published by Fabio Eduardo (A0.1181249). FREE DOWNLOAD PLAYBACK https://www.fabioeduardomusiconline.com/freedownloadLa Valse D'amelie from the album Amélie. These songs were the soundtrack for the French Academy Award winning motion picture film 'Le Fabuleux Destin d'Amélie Poulain. Yann Tierson is a noted French composer, most famous for Amélie. His music is mostly composed for piano, harpsichord, violin, and accordion. The animation is from Aniboom Animations, describing life as a song. The depiction is more on a meloncholy scale, describing the major climaxes of the life of an old man as his wife's death, his friend's death on the battlefield, and the rapture of his grandson.

Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes  Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.

Piano,Trombone - Level 5 - Digital Download SKU: A0.792196 Composed by Gliere, Reinhold. Arranged by Cherry, Gordon. 20th Century,Classical,Romantic Period. Score and part. 35 pages. Gordon Cherry #4609007. Published by Gordon Cherry (A0.792196). Reinhold Gliere's Concerto for Coloratura Soprano and Orchestra, Op. 82 was written in 1942-1943 and shows off the composer's gentle melodic musical style reminiscent of Tchaikovsky, Rachmaninov and even Wagner. The choice of a vocal soloist singing without words was not new at that time, as Rachmaninov's beautiful Vocalise had already been composed. But....adding a full orchestra to the mix was a gamble that paid off, as this is one of Gliere's finest works. The Concerto consists of two movements -- Andante and Allegro and is about 14 minutes in length. The 1st movement's rich melodies are full of lush harmonic textures and the work drives from climax to climax. The finale Allegro is lighthearted and bounces along merrily to the end. Gordon Cherry's arrangement for Alto Trombone with Piano accompaniment reduction brings a major new work to the Alto Trombone repertoire. This work can also be performed on the Tenor Trombone, however, the style of the work makes it perfect for the Alto Trombone. Appropriate for advanced performers. (Under license from G. Schirmer Music)

Full Orchestra - Level 5 - Digital Download SKU: A0.1430275 Composed by Hans Zimmer. Arranged by John Langley / Studio Orchestrations. Classical,Contemporary,Film/TV,Religious,Thriller. 102 pages. Www.studio-orchestrations.com #1010904. Published by www.studio-orchestrations.com (A0.1430275). From the 2006 Ron Howard film adaptation of Dan Brown's The Da Vinci Code, this track is taken from the soundtrack which underscores the final late night walk by Robert Langdon (played by Tom Hanks) through the streets of Paris to (possibly and hopefully) conclude his long and testing quest to seek the Holy Grail.  No spoilers however.  If you've not seen it, then add it to your playlist!The film's soundtrack evokes great emotion throughout and whatever criticisms there may have been over the years about the book, the story, the film etc.. this is definitely one of Hans Zimmer's finest emotional and thought provoking soundtrack  scores, drawing from a huge range of musical influences, from the big symphonic oceanic sounscapes to the intimate vocal solo and choral plainchant that are peppered throughout the score.  It is an example of how a soundtrack can really make a massive difference to what some might describe glibly as a popcorn movie.Very much like Time in Inception Zimmer takes a relatively simple harmonic and melodic trope and adds layers of melodic counter melody and rhythmic building to create an awe inspiring and (let's face it BIG!) climax, supporting the narrative of the film and story but also creating music that can be taken away from the cinematic experience and enjoyed for its own sake.This orchestration emulkates as closely as possible the soundtrack.  Some licence has been taken with the addition of 2 Trumpets which build the climax with the upper strings.  SATB choir is also scored as per the original soundtrack but optional as it is mostly covered by orchestral instruments and is also a very brief appearance but - at least for the sopranos - extremely challenging for anyone apart from a professional specialist choral ensemble. The synth section of the keyboard part in the opening pages can also be optional, adding some background sounds that Zimmer is so renowned for (this may be beyond the budget of some performing groups we appeciate).  However the piano cues later in the piece are highly desirable as they add a percussive support to the strings.We commend this score to anyone buidling a program of film music for their orchestral event, particularly if you are wishing to include some more modern concert ideas, and in particular a Hans Zimmer classic.INSTRUMENTATON:2 Flutes2 Oboes2 Clarinets2 Bassoons1 Contra-Bassoon (Optional)4 Horns2 Trumpets3 Trombones1 TubaTimpani2 Percussion[Cymbals/Suspp.Cymbal/Bass Drum/Tubular Bells]KeyboardSATB Choir [Optional]Strings.

Choral Choir,Choral,SSAA Chorus - Digital Download SKU: A0.1495351 By Dua Lipa & Silk City. By Clement Picard, Diana Gordon, Dua Lipa, Jacob Olofsson, Mark Ronson, Maxime Picard, Philip Meckseper, Rami Dawod, Romy Croft, and Thomas Pentz. Arranged by Zi Yi Lim (JJ'21). A Cappella,Pop. 17 pages. Tufts Jackson Jills #1071864. Published by Tufts Jackson Jills (A0.1495351). This arrangement was performed by the Tufts University Jackson Jills in 2018. The Jackson Jills are Tufts University’s oldest all-femme a cappella group, established in 1963. Visit jacksonjills.com for more info.

High Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.577244 Composed by David Warin Solomons. 20th Century. 2 pages. David Warin Solomons #3369967. Published by David Warin Solomons (A0.577244). I first heard of this poem through our local bell ringer (at St Anne's in Sale), Peter Lomax, who wrote, in 1998:

String Orchestra - Level 3 - Digital Download SKU: A0.578732 Composed by David Warin Solomons. 20th Century. Score and parts. 12 pages. David Warin Solomons #3369965. Published by David Warin Solomons (A0.578732). I first heard of this poem through our local bell ringer (at St Anne's in Sale), Peter Lomax, who wrote, in 1998:

Brass Band Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1460695 By Austin Mahone. By Alexander Izquierdo, Austin Mahone, Jordan Kendall Johnson, Marcus Lomax, Sean Douglas, Stefan Johnson, and Talay Riley. Arranged by Harry Sargeant. Contemporary,Funk,Pop. 52 pages. Harry Sargeant #1039598. Published by Harry Sargeant (A0.1460695). Funky 10-piece brass Austin Mahone's Dirty Work with drum kit.

Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.1155617 By Zedd, Maren Morris & Grey. By Anton Zaslavski, Jordan Johnson, Kyle Trewartha, Marcus Lomax, Michael Trewartha, Sarah Aarons, and Stefan Johnson. Arranged by Eric Zittel. A Cappella,Contemporary,Pop,Rock,Singer/Songwriter. Octavo. 11 pages. Eric Zittel Arranging #755919. Published by Eric Zittel Arranging (A0.1155617). Arrangement for 6 parts/SSATBB voicing with solos. Groovy and readable with excellent moments for harmony and blend to shine through. Email me at ejzittel@gmail.com for part-dominant practice tracks, or check out my website at ezarranging.weebly.com Sample recording is of Oregon City High School's Sound Check.

String Quartet String Quartet - Level 3 - Digital Download SKU: A0.579738 Composed by David Warin Solomons. 20th Century. Score and parts. 10 pages. David Warin Solomons #3369733. Published by David Warin Solomons (A0.579738). I first heard of this poem through our local bell ringer (at St Anne's in Sale), Peter Lomax, who wrote, in 1998:

Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Trombone - Level 3 - Digital Download SKU: A0.726111 Composed by American Folk Tune. Arranged by Todd Marchand. Folk. Score and parts. 8 pages. Con Spirito Music #6167501. Published by Con Spirito Music (A0.726111). One of America's most recognizable and beautiful folk tunes, Shenandoah had by the mid-ninteenth century achieved wide popularity on both land and sea.American folklorist Alan Lomax suggested that Shenandoah was a sea-shanty and that the composers likely were French-Canadian voyageurs traveling down the Missouri River — men who sought their fortunes as trappers and traders, loners who became friendly with and sometimes married Native American women. American sailors heading down the Mississippi River picked up the song and made it a capstan shanty — a work song — that they sang while hauling in the anchor.Various versions of the song, and various lyrics to the tune, exist. Some believe that the song refers to the Shenandoah river. Others suggest that it is of Native American origin and tells the tale of Sally, the daughter of an Algonquin Indian chief, Shenandoah, who is courted for seven years by a white Missouri river trader. Other versions of the song have linked it to riverboat men, cavalry men, mountain men, and Civil War soldiers. Some use names, including Sally Brown, Polly Brown, Paddy Doyle, and Dan O'Shea, in place of Shenandoah.This arrangement features trombone solo on verse 1, flute solo on verse 2, and trombone/flute duet on verse 3.©Copyright 2014 Todd Marchand / Con Spirito Music. All rights reserved.

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.1313969 By Hugh Levey. By Gustav Holst. Arranged by Hugh Levey. 20th Century,Advent,Christmas,Holiday,Religious. 14 pages. Woodwindly.com #902696. Published by woodwindly.com (A0.1313969). String Quartet In the Bleak Mid-Winter is a popular Christmas Carol which has been set to music by both Gustav Holst and Harold Darke. This string quartet arrangement is based on the Holst version and combines the composer's beautifully simple harmony with the arranger's own counter-melodies and intricate part writing. Lovely writing for all instruments. An ideal work for Christmas concert programming.This is a through-composed instrumental arrangement that explores the melody and harmonies of the Holst hymn in 3 differently arranged verses. After a short introduction the first verse uses Holst’s original 4-part harmonisation in its beautiful simplicity, with the first violin playing the melodic line. In verse 2, the viola presents the tune in a lower register while the 'cello plays a Baroque style ‘walking bass’. The violins weave countermelodies above them, introducing new material for a Pachelbel-like interlude of an ascending sequence - bringing the music to a climax before subsiding into verse 3. Here a slightly ornamented version of the tune returns with the new material continuing in the bass line. After another smaller climax we return to the original Holst as the work ends quietly and thoughtfully.