Cello Solo - Level 3 - Digital Download SKU: A0.1025989 Composed by diego longobardi. 20th Century,Contemporary,World. Individual part. 20 pages. Diego longobardi #5726253. Published by diego longobardi (A0.1025989). Compuestas en su mayoría en el año 2011, estas piezas para violoncello solo nacieron en principio por una necesidad propia de tener un repertorio que, si bien presentara un desafío, con la práctica y el estudio fuese posible  interpretar. Muchas veces note que las obras escritas para cello que llegaban a mi atril eran, o bien demasiado sencillas (en la tonalidad de do mayor, en primera posición, con figuras rítmicas elementales, etc.) o eran directamente imposibles para quien no es un virtuoso. Luego de comentarlo con algunos colegas descubrí que no solo yo enfrentaba ese problema, así que me decidí a crear mis propias obras, para las cuales utilicé tonalidades con algunas alteraciones (las necesarias) las primeras cuatro posiciones (mas la media posición) y los golpes de arco que mas me atraía ejecutar, así como los diferentes matices, intensidades y caracteres propios de la música de cámara que siempre queremos tocar y a veces no se puede por las razones arriba mencionadas. Por supuesto este no es un libro de ejercicios, pero las digitaciones indicadas y las ligaduras son, además de las más adecuadas a mi criterio, ideales para ejercitar los cambios de posición, los golpes de arco y las técnicas que ofrece nuestro instrumento. El recurrente uso de la escala menor armónica es porque me gusta a mí, que soy el autor. Otro detalle que algunos han considerado una ventaja es el hecho de que las piezas estén compuestas por un cellista, ya que suponen que no hay dificultades innecesarias ni simplificaciones hasta el absurdo, en otras palabras, que sabe lo que puede tocar y lo que no. Es mi deseo que quien se embarque en el estudio de estas piezas disfrute con su ejecución, encuentre una excusa para pasar más horas estudiando y se convierta en un músico más completo.

Cello Solo - Level 3 - Digital Download SKU: A0.1025987 Composed by diego longobardi. Contemporary,World. Individual part. 2 pages. Diego longobardi #5726233. Published by diego longobardi (A0.1025987). Compuestas en su mayoría en el año 2011, estas piezas para violoncello solo nacieron en principio por una necesidad propia de tener un repertorio que, si bien presentara un desafío, con la práctica y el estudio fuese posible  interpretar. Muchas veces note que las obras escritas para cello que llegaban a mi atril eran, o bien demasiado sencillas (en la tonalidad de do mayor, en primera posición, con figuras rítmicas elementales, etc.) o eran directamente imposibles para quien no es un virtuoso. Luego de comentarlo con algunos colegas descubrí que no solo yo enfrentaba ese problema, así que me decidí a crear mis propias obras, para las cuales utilicé tonalidades con algunas alteraciones (las necesarias) las primeras cuatro posiciones (mas la media posición) y los golpes de arco que mas me atraía ejecutar, así como los diferentes matices, intensidades y caracteres propios de la música de cámara que siempre queremos tocar y a veces no se puede por las razones arriba mencionadas. Por supuesto este no es un libro de ejercicios, pero las digitaciones indicadas y las ligaduras son, además de las más adecuadas a mi criterio, ideales para ejercitar los cambios de posición, los golpes de arco y las técnicas que ofrece nuestro instrumento. El recurrente uso de la escala menor armónica es porque me gusta a mí, que soy el autor. Otro detalle que algunos han considerado una ventaja es el hecho de que las piezas estén compuestas por un cellista, ya que suponen que no hay dificultades innecesarias ni simplificaciones hasta el absurdo, en otras palabras, que sabe lo que puede tocar y lo que no. Es mi deseo que quien se embarque en el estudio de estas piezas disfrute con su ejecución, encuentre una excusa para pasar más horas estudiando y se convierta en un músico más completo.

Full Orchestra - Level 4 - Digital Download SKU: A0.1470001 By The Carpenters. By Frank Pooler and Richard Carpenter. Arranged by John Langley / Studio Orchestrations. Christmas,Holiday,Pop,Singer/Songwriter,Standards. 95 pages. Www.studio-orchestrations.com #1047742. Published by www.studio-orchestrations.com (A0.1470001). Merry Christmas, Darling is a Christmas song by the Carpenters (music by Richard Carpenter, lyrics by Frank Pooler), and originally recorded in 1970.  It received a number of remixes, most notably in 1978 in a newly recorded vocal version by Karen Carpenter, which was done at her request. Richard Carpenter himself called the original recording one of his sister's very best. Hearing this song today with knowing ears and the knowledge of Karen Carepenter's mental health problems it makes a beautiful, sentimental song all the more bitter sweet and precious.  It is a perfect little gem.In this orchestration - in the original Karen Carpenter key -  there is never any heavy brass apart from 4 horns used very sparingly, and the optional original alto saxophone solo is also cued (as an alternative) for a Trumpet or Flugel horn if a sax is not available.  A guitar in this texture is always desirable but can be traded off as long as there is bass guitar, light kit and percussion to support the soupy lush string lines.The backing vocals are a significant part of the song's haunting beauty and are also highly desirable however their harmony lines are covered by alternative wind instrument figures so this can be performed with or without backing vocals.INSTRUMENTATION:2 FlutesOboeCor Anglais2 Clarinets2 Bassoons4 HornsAlto Saxophone solo (Can be played on alt. Flugel/Trumpet part)2-3 PercussionHarpPianoElectric Guitar [Optional]Bass GuitarDrum KitVocal female soloistSATB Backing Vocals   [Optional, cued to alt. instruments]StringsLook out for other arrangement/orchestrated titles by John Langley and writing partner Paul Campbell at www.studio-orchestrations.com.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1402823 Composed by Daniel Alomia Robles, Jorge Milchberg, and Paul Simon. Arranged by Alan Frazer (arranger) & Peet du Toit (orchestrator). Folk. 10 pages. Peet du Toit #986049. Published by Peet du Toit (A0.1402823). This song started out as an Andean folk melody that Paul Simon came across in 1969 when he played a week-long engagement at a theater in Paris along with the South American group Los Incas, who played an instrumental version of the song called Paso Del Condor. Said Simon: I used to hang around every night to hear them play that. I loved it and I would play it all the time, and then I thought, Let's put words to it.The Peruvian songwriter Daniel Robles recorded this song in 1913, and copyrighted it in the United States in 1933 during his travels in America. When Simon recorded it with his added lyrics, he thought it was a traditional song, as that's what Los Incas told him. When Robles' son filed a lawsuit, Simon had to give Robles a composer credit on the song, with his estate getting those royalties.In discussing the song, Simon always talks about it as being based on a traditional Peruvian song, and we've never heard him mention Robles. This wasn't the first time Simon got tangled over songwriting credits on traditional melodies: Simon & Garfunkel's Scarborough Fair / Canticle was based on a folk song, but his arrangement came from a singer named Martin Carthy. Simon was always clear on his influences, but legal misunderstandings were a problem in these cases.Los Incas, who were the group that introduced Simon to the song, provided the instrumentation when they recorded it in Paris with Simon. Their leader, Jorge Milchberg, played a charango, which is an Andean string instrument made from the shell of an armadillo. Simon played acoustic guitar, and other members of Los Incas played flutes and percussion. When Simon brought the track to America, he added his lyrics. This was one of the easier songs to record for the Bridge Over Troubled Water album, since the backing track was already mixed together - it was just a matter of adding the vocals.The title translates to English as The Condor Passes. The lyrics Robles wrote to the song in 1913 are about returning home to his native Peru.Los Incas leader Jorge Milchberg got a composer credit on this song along with Simon and Robles. Milchberg later became the head of the group Urubamba and remained friends with Simon, who toured with them and produced their first American album. >>The Wainwright Sisters covered this for their 2015 Songs in the Dark album. Lucy Wainwright Roche explained to The Sun: I chose 'El Condor Pasa' because it was one of the first songs I ever learned to play on it guitar and it has a childlike quality to it, but it also has a darkness and sadness that fit in well with the album.Paul Simon performed this on both Sesame Street (in 1977) and The Muppet Show (in 1980).

Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchin’s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as he’s a wonderful musician, anything is possible, he’s open to trying out new ideas and he’s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited ‘window’ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. He’s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between ‘ts’ and ‘tsh’ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really ‘speak’ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.

Carillon,Instrumental Solo - Level 5 - Digital Download SKU: A0.1301689 By Duke Ellington and his Orchestra. By Duke Ellington, Irving Mills, and Juan Tizol. Arranged by Michael Gancz. 20th Century,Broadway,Film/TV,Jazz,Latin,Musical/Show. Individual part. 8 pages. Michael Gancz #891301. Published by Michael Gancz (A0.1301689). Caravan is one of Duke Ellington's (1899-1974) most famous compositions—although he didn't actually write it. That credit goes to Puerto Rican trombonist Juan Tizol (1900-1984), a member of the Ellington's big band from 1929 to 1944. Tizol composed the theme in 1936 and promptly sold the rights to lyricist Irving Mills for only $25. The song became an instant hit—jazz critic Ted Gioia expllains that it fit perfectly with the musical exoticism that patrons were demanding at [Ellington's] regular gig at the Cotton Club in Harlem. Indeed, much jazz from this era, especially Ellington's, was steeped in Orientalist aesthetics. Although we hear it now as a self-contained musical phenomenon, we must acknowledge this music's problematics even as we continue to celebrate its progressive and revolutionary qualities. Part of my interest in this piece is in its capacity as a vessel in which I can explore my own multiform identity as an expatriate of the Middle East, a carillonist, and a lover of jazz. This arrangement reflects what might happen when these three perspectives collide. Ellington recorded Caravan more than 100 times, and the names of its additional interpreters reads as a history of jazz itself: Thelonious Monk, Art Blakey, Nat King Cole, Dizzy Gillespie, Wynton Marsalis and dozens more all brought their own spin to the tune. What makes it particularly special, though, is its appeal to listeners outside the jazz fandom. The 2014 film Whiplash introduced mass audiences to the song's unique atmosphere and to the genius of the Duke and his sidemen, thanks to an outstanding big band arrangement by John Wasson. My setting of the tune for the carillon recalls both Duke and Tizol's original version and this more recently popular edition.In this arrangement, I hope to highlight the carillon's capacity as a percussion instrument, and to use this as a bridge into the world of jazz. A successful interpretation will focus on groove, stratification of voices, and balance. Try to keep the pedals light!Michael Gancz2023Sources:Gioia, Ted (2012). The Jazz Standards: A Guide to the Repertoire. New York City: Oxford University Press. pp. 58–59.

Small Ensemble - Level 5 - Digital Download SKU: A0.956662 Composed by Felix Bartholdy Mendelssohn. Arranged by Catriona Melville-Mason. Romantic Period. Score and parts. 127 pages. C Melville-Mason #6735335. Published by C Melville-Mason (A0.956662). This is an arrangement of Mendelssohn’s overture The Hebrides (Fingal’s Cave), intended for a medium-sized woodwind group of perhaps 20 – 30 players.  It has been categorised as ‘advanced’, as the length and tempo of the work make it quite challenging.  However, provided the main parts are covered by competent players, those with less experience can either double, judiciously omitting any problem sections, or opt for the appropriate ‘easier’ add-on part.This is great fun to attempt, even if your ensemble may not manage it up to performance standard!The piece is scored for the following instrumentation: Essential Parts: Part 1: Flute Part 2: Flute Part 3: Oboe Part 4: Clarinet in B-flat Part 5: Clarinet in B-flat (contains essential divisi, so minimum of 2 players essential) Part 6: Clarinet in B-flat Part 7: Clarinet in B-flat  OR          Part 7: Alto Saxophone Part 8: Alto Saxophone Part 9: Alto Saxophone Part 10: Bassoon              OR          Part 10: Bass Clarinet in B-flat (low C instrument essential)   Optional add-ons:   Easier Flute/Oboe Low Clarinet in B-flat Easier Alto Saxophone Easier Tenor Saxophone Mini-Bassoon in F (an extra, NOT an easy, part) Easier Bassoon   Mendelssohn visited Scotland in 1829 and, after a tour of the Highlands, travelled by steamer from Fort William to Oban and thence to the Hebridean island of Mull.  From there, he made the short boat trip to the small island of Staffa, to visit Fingal’s Cave – a sea cave formed of hexagonal basalt columns, with a highly intriguing natural acoustic. The Hebrides overture was inspired by this segment of Mendelssohn’s Scottish travels.  The work is an early example of a tone poem: a musical representation of the scenery, wind and weather of the Scottish Hebridean islands, reflecting their sudden and infinite changeability. After some revisions, the overture received its first performance in May 1832 and remains a favourite with audiences to this day.  It has been central in establishing – and sustaining – the popularity of Fingal’s Cave as a tourist destination. This arrangement was originally created for a woodwind course held on another Scottish island – Skye, which is the largest and most northerly of the Inner Hebrides.

Contrabassoon,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.549233 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Easter,Standards,Wedding. Score and individual part. 9 pages. Jmsgu3 #3468784. Published by jmsgu3 (A0.549233). J. S. Bach BWV 508. This arrangement features a specially revised custom accompaniment part that avoids unwanted collisions with the contrabassoon and revoices chords to avoid awkward doublings and other voice-leading problems. It accentuates the solo part very nicely. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.   Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.   Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands            Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival                Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  

Concert Band - Level 4 - Digital Download SKU: A0.1285185 Composed by Christian F. J. Buettner, John Tuananh Dang, and Rajan S. Arranged by Stephen Cai. 21st Century,Video Game. Score and Parts. 66 pages. Stephen Cai #876297. Published by Stephen Cai (A0.1285185). Monody - TheFatRat (Christian F. J. Buettner) arr. Stephen Cai for Concert BandProgram Notes:MUSIC As a sequel to Pigstep by Lena Raine and Exodus by Ernest Gold, I have decided to take on the challenge of arranging the ever-famous glitch hop song, Monody by Christian Buettner (known more prominently by his online alias, TheFatRat).Similarly to Pigstep, my first arrangement, I ran into the challenge of instrumentation, as Monody’s original soundtrack almost entirely consisted of electronic instruments. However, I used the same technique I did with Pigstep to overcome this problem: assign basslines to low brass, treble melodies to mid-range instruments, and high parts to upper woodwinds. Unlike Pigstep, Monody pushed me to be more creative with the percussion section, as I had to puzzle out recreating all of the numerous sound effects throughout the piece with traditional percussion instruments. I even decided to notate a conch shell line for the war horn present at the beginning and the coda! At the end, however, it all came together nicely, and I came to realize that both this song and the process of arranging it represent a journey, albeit in different contexts. The word “Monody� refers to, in a literal sense, a song sung to mourn one’s death, which accordingly fits with my view of the piece as a journey where the narrator loses their companion. Writing the introduction measures (M.22) carried me through the genuine feelings of embarking on a mythical undertaking as the original soundtrack intends to portray. The lively middle section (M.70) was enjoyable to write as well, because the music itself is upbeat and full of energy. Finally, arranging the solo section was probably my most memorable experience. The slow and subtly melancholic character of the melody (the oboe solo) very closely alludes to the narrator’s mourning, and the enchanting lyrics originally written for this section further confirms their loss:      I still hear you in the breeze,      See your shadows in the trees;      Holding on, memories never change. The chords and harmonies that the original soundtrack provided were relatively simple to transcribe, and I found joy complementing them with luscious percussion effects. This is my interpretation of Monody, and I believe that it would be best performed as a journey, one which we can relate to as it encompasses the theme of loss; a monody. ARTWORK I also took up the challenge of creating original cover artwork for Monody, and I have to say, my level of appreciation for artists of any kind has skyrocketed ever since that endeavor. It took nearly two months of watching YouTube tutorials, onerous idea crunching, and using my sister’s drawing tablet, but I had nevertheless completed it with advice from some of my more experience peers (including my sister). Formal Credits: Cai, Stephen and Rachel Cai. “Monody� Arrangement for Concert Band cover. 2023 Lastly, I want to say thanks to my friend Matteo Sohn for being such a huge musical inspiration, and thank you for acknowledging my arrangement!

Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.853942 By Louis Armstrong. By Clarence Muse, Leon Rene, and Otis Rene. Arranged by Larry Wright. A Cappella,Barbershop. Octavo. 3 pages. Larry Wright #4747317. Published by Larry Wright (A0.853942). A MEN'S 4-part, a cappella CONTESTABLE barbershop ballad arrangement. Quartets and choruses singing at a B- contest level should be able to successfully learn and perform this arrangement making good use of the available part-predominant, instrumentally played Learning Trax <www.larrywrightmusic.com>. If you've purchased my learning trax and pricing is a problem, email me <larry@larrywrightmusic.com>. SMP requires a minimum purchase of 10 copies for all choral selections.

Solo-Orgel, kl. Flöte, gr. Flöte, Oboe, Klarinette (in B), Bassklarinette (in B), 2 Fagotte, Horn (in F), Trompete (in C, Posaune, Violoncelli, Kontrabässe organ and chamber orchestra - Digital Download SKU: S9.Q21371 For organ and chamber orchestra. Composed by Paul Hindemith. This edition: study score. Ernst Eulenburg - chamber music - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 46/2. Ernst Eulenburg & Co. GmbH - Digital #Q21371. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21371). German • English.The chamber music works are among Hindemith's most successful instrumental works of the 1920s. But the title is misleading: The individual pieces actually have concertante soloistic features instead of submitting to chamber music traditions. Chamber Music No. 7 is centred on the organ. Written for the broadcaster Frankfurter Sender, the work took then virulent music recording and broadcasting problems on the radio into account in its instrumentation for chamber music and the elaboration of the musical setting. The scores are based on Vol. IV/3 (PHA 403) of the Hindemith Complete Edition, edited by Giselher Schubert.

Woodwind quintet - Digital Download SKU: IZ.CMS1612 Composed by Stephen Foster. Arranged by Judith Katz. Score and Parts. 18 pages. Imagine Music - Digital #CMS1612. Published by Imagine Music - Digital (IZ.CMS1612). 9 x 12 in inches.Jeanie With The Light Brown Hair is one of the most enduring, and popular American songs of all times.Characterized as a parlor song, it was written by Stephen Foster, and published by Firth, Pond & Co. of NewYork, in1854.In 1850, Foster married Jane Denny McDowell, whose nickname was Jennie. However, this was an unhappymarriage, short-lived, with numerous conflicts and separations. Jeanie With The Light Brown Hair, was written asperhaps an attempt to win his wife back. To add to his problems, Foster also ran into deep financial difficulties.Jeanie With the Light Brown Hair was virtually unknown during its time. When it was first published, the royaltieson the ten thousand copies sold, earned just $200 for Stephen Foster. To make ends meet, he had to sell the rights toJeanie, as well as other songs. After his death, the rights to Jeanie With The Light Brown Hair reverted back to hiswife and daughter.It would indeed be a pleasant surprise to Stephen Foster, if he only knew what a wide range of artists have adaptedthis song to different genres. Among solo instrumentalists, Jascha Heifitz, and William Primrose have arranged itfor solo violin and viola. The big bands of Gene Krupa, and Glen Miller have recorded it. The great R & B artist,Sam Cooke used it, as well as opera stars, Marilyn Horne and John McCormick, who added it to their concertrepertoire.The song's frequent airplay in the 1940's, led Spike Jones to create a parody, called, I Dream of Jeanie with theLight Blue Jeans. Les Brown in 1941, created a big band song, Joltin' Joe DiMaggio with the line.....We Dream ofJoey With the Light Brown Bat. Even Bugs Bunny got into the act. The 1960 short, From Hare To Heir, featuresBugs singing, I dream of Jeanie, she's a light brown hareMy arrangement, for woodwind quintet is written to capture a lyric, singing style, which I think Foster had in mind.

String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1404503 Composed by Claude Debussy. Arranged by Ciro Hernández. 19th Century,20th Century,Chamber,Classical,Opera. 21 pages. Ciro Hernández #987590. Published by Ciro Hernández (A0.1404503). I have added a beginning and an end according to the original work for orchestra but adapted it for string quartet. I have respected structure, tonality and indications of the composer.This adaptation I have added the soloist's part in the instrumentalists' part so that they can follow him without any problem and be able to play without a conductor if necessary. Each part is designed so that the page turning is easy if you use a tablet or iPad. The adaptation is based on the piano part but the piano part has been used to add those musical details that can enrich the musical moment. In audio you can hear a piano accompanying the quartet, simply as a harmonic support to which the singers are more accustomed.

String Quartet Cello,String Quartet,Viola,Violin - Digital Download SKU: A0.1404505 Composed by Gabriel Faure. Arranged by Ciro Hernández. 19th Century,Chamber,Opera,Religious,Spiritual. 8 pages. Ciro Hernández #987593. Published by Ciro Hernández (A0.1404505). I have arranged this work for string quartet based on the original for orchestra. I have respected structure, tonality and indications of the composer.This adaptation I have added the soloist's part in the instrumentalists' part so that they can follow him without any problem and be able to play without a conductor if necessary. In audio you can hear a piano accompanying the quartet, simply as a harmonic support to which the singers are more accustomed.