String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.805296 Composed by Ayn Robbins, Bill Conti, and Carol Connors. Arranged by James Widden. Film/TV,Pop,Rock. Score and parts. 7 pages. James Widden #412329. Published by James Widden (A0.805296). This arrangement was originally done for my sister-in-law's wedding, as a special request. It fits the string quartet perfectly with the cello giving out the hard-driving bass line! All James Widden's arrangements are beautifully made and carefully edited so that players and listeners alike will get maximum pleasure from the performance.

Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462151. Published by jmsgu3 (A0.549205). Minimum instrumentation: 8 double reeds (or multiples) arranged in 2 antiphonal choirs. 4 oboes, 2 English horns, 1 bassoon, 1 contrabassoon (or 2 bassoons). 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.

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.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1353111 By Joy Division. By Bernard Sumner, Ian Curtis, Peter Hook, and Stephen Morris. Arranged by James Widden. 20th Century,Punk,Rock. 8 pages. James Widden #937874. Published by James Widden (A0.1353111). Joy Division's Love Will Tear Us Apart was voted the greatest single of all time by NME.  The intensity and raw emotion of the song comes through in every line.  It defines the sound of Joy Division, and featured the only promotional video the band was ever to make.  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: A0.805291 By Christina Perri. By Christina Perri and David Hodges. Arranged by James Widden. Pop,Rock,Wedding. Score and parts. 10 pages. James Widden #412312. Published by James Widden (A0.805291). Originally written for the Twilight - Breaking Dawn film, Christina Perri's song depicts the intense love between Edward and Bella, and is now hugely popular for weddings. This wonderful arrangement is beautifully imagined for string quartet. All James Widden's arrangements are beautifully made and carefully edited so that players and listeners alike will get maximum pleasure from the performance.

Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult 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 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.  Register for free lifetime updates and revisions of this product at www.jamesguthrie.com

String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.1488822 By Take That. By Gary Barlow, Jason Orange, and Mark Owen. Arranged by James Widden. 21st Century,Pop,Rock,Wedding. 10 pages. James Widden #1065674. Published by James Widden (A0.1488822). 'Greatest Day' was the lead single from Take That's 5th studio album, The Circus - it shot to No. 1 in the UK and has since sold well in excess of 600,000 copies.  A guaranteed crowd-pleaser, and an excellent choice for weddings, this string trio arrangement brings out all the colour, emotion and richness of the original song. 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: A0.1268235 By The Beatles. By John Lennon and Paul McCartney. Arranged by James Widden. 20th Century,Pop,Rock,Wedding. 9 pages. James Widden #860799. Published by James Widden (A0.1268235). Lennon and McCartney's incredible song from Rubber Soul - John Lennon thought it one of his best songs because it was the first time he had written about his own life.  In 2000 Mojo voted it the greatest song ever written.  George Martin played the superb piano solo in the middle 8 - faithfully reproduced here in string quartet form!  All James Widden's arrangements are beautifully made and carefully edited so that players and listeners alike will get maximum pleasure from the performance.

Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3461839. Published by jmsgu3 (A0.549203). Instrumentation: 8 Cellos arranged in two choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg. ea. 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.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1246623 By Britney Spears. By Annette Stamatelatos and Britney Spears. Arranged by James Widden. Pop,Wedding. 8 pages. James Widden #841254. Published by James Widden (A0.1246623). Britney's worldwide hit, with achingly moving and passionate lyrics, addressed to a former lover, works so beautifully in this arrangement for string quartet.  All James Widden's arrangements are beautifully made and carefully edited so that players and listeners alike will get maximum pleasure from the performance.

Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 54 pages. Jmsgu3 #824153. Published by jmsgu3 (A0.1228233). Minimum instrumentation: 4 Cornets in Bb, 4 French Horns in F, 1 Tenor Trombone, 1 Bass Trombone.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 instead 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 sound perfectly in balance in contrast.First WorksFinally, 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 shown 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 moved to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller units for vocal soloists, accompanied by a basso continuo.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1229100 By James Widden. By Franz Schubert. Arranged by James Widden. 19th Century,Chamber,Classical,Romantic Period,Wedding. 7 pages. James Widden #825000. Published by James Widden (A0.1229100). One of the most beautiful melodies ever written, and an all-time wedding favourite, Schubert's song 'Ave Maria', sensitively arranged for string quartet by James Widden.  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 Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renaissance,Standards. 45 pages. Jmsgu3 #3479835. Published by jmsgu3 (A0.549267). A musical monument: the first composition to employ dynamics. Minimum instrumentation: 11 cellos.   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 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.

Guitar - Level 3 - Digital Download SKU: A0.1311836 Composed by John Barry. Arranged by Derek Hasted. Film/TV. 21 pages. Derek Hasted #900771. Published by Derek Hasted (A0.1311836). JOHN DUNBAR'S THEME (Dances With Wolves) - 4 GUITARS/LARGE ENSEMBLEPrimarily for Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This theme, from the film 'Dances With Wolves' is widely admired as a charming and powerful melody.It will make a wonderful item for a concert.My arrangement is based on track 4 of the official Soundtrack CD. It’s very slow, and lasts just over three and a half minutes - be sure not to rush this lovely piece and its haunting descant in the final Verse.The key is just a semitone lower than the original, and two guitars are tuned to 6=D to give a rich deep bass that maximises the sustain that guitars can achieve.Guitar 1 plays the part of the high descant in the original.Guitar 2 is the tune, and if you have more than 4 players, there is an optional divisi part (Guitar 2a) that helps reinforce the beautiful melody.Guitar 3 is arpeggio based, to help the sustain and to ease the counting of the beats.Guitar 4 has thick chords which should be rolled (but not strummed) to add to the majesty of the music.I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.

String Quartet String Quartet - Digital Download SKU: A0.508952 Composed by Chiquinha Gonzaga. Arranged by Renato Esteves. Multicultural,World. Score and parts. 16 pages. Published by Renato Esteves (A0.508952). The famous Corta-jaca, the name with which the Gaucho tango became popular, is one of the most recorded and known songs by Chiquinha Gonzaga, alongside Ó abre alas, Lua Branca and Atraente. He was born on the stages of musical theaters, where he was danced in the final scene of the burlesque operetta of national customs Zizinha Maxixe, imitated from French by an anonymous author, performed at Teatro Éden Lavradio, in August 1895. Actor Machado Careca (José Machado Pinheiro e Costa ), anonymous author of the play, ended up putting verses in Corta-jaca's music, helping to popularize it, especially after its version was recorded on disk by the duo Os Geraldos. Throughout history, Corta-jaca attended other stages and repertoires: coffee-singers, beer-beauties, choro circles… But it was at the Palácio do Catete, in 1914, that it reached its glory. Performed on the guitar by First Lady Nair de Teffé, it caused political scandal and ended up calling the administration Hermes da Fonseca. The reaction can be measured by the impassioned speech that Senator Rui Barbosa delivered from the gallery. When inquiring what the cut-jaca that he had heard so much about is, he concludes: “The lowest, the most foul, the rudest of all wild dances, the twin sister of batuque, cateretê and samba. But at presidential receptions, the cut-jaca is performed with all the honors of Wagner's music, and we don't want the conscience of this country to revolt, our faces redden and the youth to laugh!� Never before in the history of Brazil has eminently popular music been performed in the seat of government, in front of the diplomatic corps and the country's elite. Corta-jaca became a classic of the great repertoire of Brazilian instrumental music, deserving recordings, among others, by Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, Turíbio Santos, numerous bands and some sung versions. It was also written by the conductor for singing and piano and for a small orchestra: oboe, viola, timpani, horns (fá), bassoon. Edinha Diniz, 2011.