String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1491971 By Thomas Rhett. By Joe Spargur, Sean Douglas, and Thomas Rhett. Arranged by James Widden. 21st Century,Blues,Country,Wedding. 8 pages. James Widden #1068652. Published by James Widden (A0.1491971). Probably Thomas Rhett's best-known song - one reviewer wrote Thomas Rhett may have just released the love song of the year. Die a Happy Man is a slow burner that melts like candle wax. With just a few pulls from a blues-soaked guitar, the mood is set for this increasingly dynamic singer to heat up any room.  Couldn't have put it better myself!  All James Widden's arrangements are beautifully made and carefully edited so that players and listeners alike will get maximum pleasure from the performance.

String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1240751 By Gustav Mahler. By Gustav Mahler. Arranged by James Widden. 19th Century,Film/TV,Romantic Period. 14 pages. James Widden #836140. Published by James Widden (A0.1240751). The achingly beautiful and moving slow movement from Mahler's Symphony No. 5 - famously used in the Visconti film Death in Venice and probably the best-known single movement from this most romantic of composers.  Originally for string orchestra and harp, James Widden's arrangement for string quartet is beautifully made and carefully edited so that players and listeners alike will get maximum pleasure from the performance.

Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 44 pages. Jmsgu3 #3462167. Published by jmsgu3 (A0.549207). Instrumentation: Double Sax Quartet (SSAATTBB) arranged antiphonally (SATB - SATB). Full Score: 28 pg. Study Score: 14 pg. Instrumental 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 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.

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.

Alto Saxophone,Drum Set,Electric Bass Guitar,Electric Guitar,Piano,Tenor Saxophone,Trombone,Trumpet,Voice - Level 3 - Digital Download SKU: A0.1183769 By Dolly Parton. By Dolly Parton. Arranged by MAJOR SCORE PUBLISHING TM. Broadway,Country,Film/TV,Musical/Show,Rock,Singer/Songwriter. 59 pages. Major Score Publishing #783455. Published by Major Score Publishing (A0.1183769). 9 to 5 Dolly Parton Vocal Headliner Sheet Music Singers look no further! Our arrangement of Dolly Parton's 9 to 5 will deliver and exceed you and your audience's expectatations! Based on the original Dolly Parton recording, we have spared no details writing this feel good classic featuring highly detailed and notated sheet music! Designed for the commanding vocalist supported by a 9 piece show band (5 horns + 4 piece rhythm section) this is the arrangement you have been waiting for to satisfy your high profile entertainment needs!  From the iconic intro, to the rock solid groove & screaming horn lines we have you covered! We have also added a few extra horns lines, an open solo section to showcase the musicians and a custom ending as the original fades out!  Designed for fast and effective rehearsals with maximum performer and audience enjoyment! Singer & 7/9 piece band sheet music Leave the Door Open (Silk Sonic)Do I Do (B) (Stevie Wonder)Do I Do C (Stevie Wonder)Superstition (Stevie Wonder)Sir Duke (Stevie Wonder)This Christmas (Donny Hathaway)9 to 5 (Dolly Parton)More on our website!Websitehttps://www.majorscorepublishing.com/vocal-chartsInstagram@majorscorepublishingYouTube@majorscorepublishing

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1488829 By Belinda Carlisle. By Ellen Shipley and Rick Nowels. Arranged by James Widden. 20th Century,Pop,Rock,Wedding. 16 pages. James Widden #1065682. Published by James Widden (A0.1488829). An absolutely stone-cold classic from the 80s, 'Heaven is a Place on Earth' is considered Belinda Carlisle's signature song, and reached No. 1 in both the US and the UK. A great choice for weddings, especially for the exit music! All James Widden's arrangements are beautifully made and carefully edited so that players and listeners alike will get maximum pleasure from the performance.

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1310143 By Clay Walker. By Jose Feliciano. Arranged by Luiza Lale. 20th Century,Advent,Christmas,Holiday,Pop. 34 pages. Luiza Lale #871771. Published by Luiza Lale (A0.1310143). This arrangement is based on Michael Buble's version of Jose Feliciano's classic festive treat! Arranged for SATB and AAAT for maximum flexibility. This track is an essential addition to any Christmas set list, be it for students or professionals. (It will really stick in your head....!)  :).

Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. 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.

Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was 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 indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group 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. Because they could be appropriately situated, the instruments 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 and 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. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to 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, the instruments are an essential part of the presentation, 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 – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Choral Choir (Unison) - Level 1 - Digital Download SKU: A0.781324 Composed by Joanna Mills. Broadway,Children,Christmas,Holiday,Musical/Show,Sacred. Octavo. 92 pages. Joanna Mills Music #4409881. Published by Joanna Mills Music (A0.781324). This award-winning, heartwarming original children's Christmas Musical retells the Christmas Story through the eyes of the animals, and reminds us that even the humblest among us have important gifts to share! The story is told entirely through scripture readings and songs, which allows for maximum flexibility with age-range, cast size, and set/stage requirements. The included scripture readings are from the World English Bible, but you may substitute any version you prefer, and longer readings can be shared by multiple readers. It can be performed as a simple Lessons & Carols style service/concert, or it can easily be expanded into a full pageant, complete with sets and costumes. (average run time 45 minutes) The Animal Alleluia features one adapted traditional hymn and five original songs (plus one reprise) written and arranged for school-aged children by Joanna Mills. The songs are all set in an accessible range for young children, and feature simple tunes which are easy to learn. Some pieces also provide solo opportunities. This package contains two versions of each song; an easy unison version (some with optional easy descant or counterpoint harmonies on the final chorus), and a 2-part choir version, which features simple, easy-to-learn harmonies. This allows you to mix and match your arrangements to suit the abilities of your singers and your rehearsal time constraints. For those students who do not read music, one-page lyric sheets (for the unison arrangements) are also included to help reduce copying costs. The piano accompaniments are at an intermediate level and guitar chords are included, which allows older youth to participate as musicians (or allows experienced accompanists to learn them quickly). An mp3 of rehearsal piano tracks (S0.549675) and an mp3 of unison sung tracks (S0.729575) is also available for purchase! This complete package contains: -Director’s notes with performance suggestions -List of scenes and songs in order (including suggestions for characters, costumes, sets and props) -Scripture passages from the World English Bible for readers 7 songs(including 1 reprise) with the following arrangements provided for each song: --Unison lyric sheet (for children who do not read music) --Unison Choir arrangement with piano accompaniment and guitar chords --2-Part Choir arrangement with piano accompaniment and guitar chords visit www.joannamills.ca for more savings and free offers.

Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 72 pages. Jmsgu3 #823794. Published by jmsgu3 (A0.1227832). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was 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 particular 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 WorksGabrieli 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 indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments 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 WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to 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 an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments 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.

String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1228014 By Stormzy. By Fraser Thorneycroft Smith, Michael Owuo Jr., and Uzoechi Emenike. Arranged by James Widden. Contemporary,Pop,Praise & Worship,Soul,Spiritual. 15 pages. James Widden #824005. Published by James Widden (A0.1228014). A great blend of rap and gospel, this was one of Stormzy's biggest chart hits, and was also given an incredible, memorable performance at Glastonbury in 2019.  All James Widden's arrangements are beautifully made and carefully edited so that players and listeners alike will get maximum pleasure from the performance.

Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.866265 Composed by Johann Sebastian Bach. Arranged by Nicolas AVINEE. Baroque,Sacred. Octavo. 6 pages. NICOLAS AVINEE #3507471. Published by NICOLAS AVINEE (A0.866265). This is a wonderful arrangement for 3 voices choir (S, A and baritone) and piano based on the Bach's famous prelude in C minor BWV 847.The text is based on the De profundis psaum.Voice level is easy : homorythms and maximum range to F for the soprano.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1431397 By James Bersey. By James Bersey. 21st Century,Christian,Easter,Lent,Praise & Worship. Score. 140 pages. James Bersey #1011866. Published by James Bersey (A0.1431397). The Triumph of Jobby James Bersey Modern Oratorio in two acts. Job teaches us how to deal with adversity. It is scored for 12 solo voices (advanced level). S.A.T.B Choir (standard level). Piano (advanced level) Organ (advanced level) This work features selected passages from the Holy Bible's Book of Job drawing from the Revised English Version and other texts by the composer. This work is suitable for choral societies, church choirs or professional singing groups. This offer permits the print off or enough copies for one company only, maximum 50 copies. It can be read from a screen, however, email forwarding is prohibited by copyright law. A print-off sheet of the words of the final hymn for the congregation is included. All performances should be notified to PRS for Music (UK) or ASCAP (USA) or otherperforming rights organisations around the world.Licences for recording or broadcast should be sought in advance from the same.About the composer

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.1305338 By The Four Seasons. By Bob Crewe and Bob Gaudio. Arranged by Luiza Lale. 20th Century,Broadway,Film/TV,Musical/Show,Pop. 18 pages. Luiza Lale #894778. Published by Luiza Lale (A0.1305338). This is a very simple yet effective arrangement of the 1960's hit song by The Four Seasons. Perfect for student ensembles, as the tune dances through the parts, and easy to lock together. It's also ideal for a background music set. Arranged for SATB and AAAT for maximum flexibility.