Piano - Level 1 - Digital Download SKU: A0.1304631 By Frank Sinatra. By Carolyn Leigh and Johnny Richards. Arranged by DecPlay Ltd. Contemporary,Pop,Standards. DecPlay Piano. 3 pages. DecPlay Ltd #894071. Published by DecPlay Ltd (A0.1304631). You have great taste - this is a great song! If you’re not a DecPlay student yet, you might be wondering why the song sheet isn’t using traditional notation or chord names …..This patented form of song sheet from DecPlay® enables songs to be learnt much quicker and more easily than using traditional notation or guitar chords. The simple numbers, colours and patterns method enables rapid results on piano.The same song sheet enables beginner and advanced playing styles, in any musical key.For more details and a FREE video lesson go to https://decplay.com(This type of sheet music is known as piano tabs or PianoTabz and includes lyrics, melody and chords).

Violin Duet Violin - Level 3 - Digital Download SKU: A0.1161268 By The Rolling Stones. By Keith Richards and Mick Jagger. Arranged by Elias Leckner. 20th Century,Film/TV,Pop,Rock. 3 pages. Elias Leckner #761607. Published by Elias Leckner (A0.1161268). Arrangement of Paint it Black for two violins. Based on the cello version featured in the Netflix Series Wednesday (Season 1, Episode 1).

Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.1404873 By The Jackson 5. By Alphonso Mizell, Berry Gordy Jr., Deke Richards, and Freddie Perren. Arranged by Clint Bleil. Jazz. 79 pages. Clint Bleil #987903. Published by Clint Bleil (A0.1404873). Here's some Jackson 5 for big band and voice! This is a great funky chart on I Want You Back that is full of hip and syncopated rhythms, and will be sure to be a great concert opener or closer.

String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.1108537 By The Jackson 5. By Alphonso Mizell, Berry Gordy Jr., Deke Richards, and Freddie Perren. Arranged by Jeremy Crosmer. Classical,Funk,Hip-Hop,Pop,R & B. Score and parts. 19 pages. Jeremy Crosmer #711179. Published by Jeremy Crosmer (A0.1108537). This arrangement is part of the Motown Reimagined collection, a series of Motown's Greatest Hits by Jeremy Crosmer arranged for String Quartet with optional Double Bass Part (Quintet). Motown Reimagined was conceived as a way to bridge the gap between classical and pop music. Embracing the music of our communities is the strongest way classical musicians can remain relevant today. Cultivating discerning, appreciative and adventurous audiences begins with reaching them on their own turf. The music of Detroit mirrors its residents in its diversity. Unifying the musical worlds of classical and Motown brings communities together while also broadening the horizons of classical music.

Viola Solo - Level 1 - Digital Download SKU: A0.1367341 By The Rolling Stones. By Keith Richards and Mick Jagger. Arranged by Iury Cardoso. 21st Century,Film/TV,Pop,Rock,Singer/Songwriter. Individual part. 1 pages. Iury Cardoso #951701. Published by Iury Cardoso (A0.1367341). EASY VIOLA SOLO arrangement of the song: Paint it, Black by Rolling StonesThis is a version of the classic song Paint it, Black by the band Rolling Stones, played in Wednesday from the Netflix series! In this arrangement, the simplified melody make learning easier and allows beginning students to have a fun music experience.On this site, there is a version of this same arrangement without the chords and also versions for viola duets with other instruments.See more arrangements by Iury Cardoso, thank you so much! © 1966 (Renewed) ABKCO MUSIC, INC., 85 Fifth Avenue, New York, NY 10003 All Rights Reserved Used by Permissioneasy viola paint it blackviola paint it blackviola wednesdayeasy viola paint it blackeasy viola rolling stoneseasy viola paint it black sheet musicviola solo paint it black sheet musicviola wednesday sheet musiceasy viola paint it black sheet musiceasy viola rolling stones sheet musiceasy beginner paint black viola sheet musiceasy arrangement paint black for viola easy arrangement wednesday theme for viola easy viola wednesday sheet musicnetflix sheet music for viola viola wednesday sheet musiceasy viola sheet music netflix wednesdaywednesday netflix sheet music viola solo.

Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der Bühne: 3 Picc. (womöglich mehrfach besetzt) - 6 Hr. - Tamtam - Windschleuder - Digital Download SKU: S9.Q25915 Romantic Opera in 3 Acts. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 135' 0. Schott Music - Digital #Q25915. Published by Schott Music - Digital (S9.Q25915). German • English.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (Original version) With this edition, the original version of Wagner’s opera Der fliegende Holländer [The flying Dutchman] WWV 63 is made available to the public for the first time in piano score form. The score on which the edition is based was published in the Richard Wagner-Complete Edition 1983: Richard Wagner. Collected works Vol. 4, I-II, The Flying Dutchman. Romantic opera in three acts (original version 1841), edited by Isolde Vetter (Schott Music International, Mainz, RWA 104-10/RWA 104-20).� (Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenes�. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopski�, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).Les opéras de Richard Wagner paraissent pour la première fois sous forme de piano-chant chez Schott en version originale. Sont déjà publiés dans la série : L’Or du Rhin, Lohengrin, Parsifal et Le Vaisseau fantôme (première version de 1841 et version 1842-1880). Les autres opéras de Wagner représentés à Bayreuth paraîtront d'ici 2013, année anniversaire de la naissance du compositeur.

Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 4 · 2 · 3 · 1 - P. - Str. Auf dem Theater: 3 Picc. · 6 Hr. · Tamt. · Windschleuder - Digital Download SKU: S9.Q25918 Romantische Oper in drei Aufzügen. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q25918. Published by Schott Music - Digital (S9.Q25918). German.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (1842-1880 version) This piano reduction is based on the edition of Der fliegende Holländer from the Critical Complete Edition of Richard Wagner’s works (Richard Wagner, Sämtliche Werke [Collected works], Vol. 4, III-VI, edited by Egon Voss, Mainz, 2000f.) The primary source for this edition was the first print of the score dating from 1845 which had however been augmented utilising the sources of additions undertaken after 1845, meaning that this edition is actually a compilation of the final versions of all individual sections or relevant details. The overture for example dates back to 1860 whereas No. 1 appears in the version from 1864. What is however most significant is that the versions from the Collected Editions based on new sources is without doubt closer to the original than the score from 1897 edited by Felix Weingartner which had previously formed the basis for all editions and logically also for all performances.� (Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenes�. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopski�, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).

Piano,Voice Duet Piano,Soprano voice,Tenor Voice - Level 3 - Digital Download SKU: A0.1308011 By Richard deCosta. By Richard deCosta. Arranged by Richard deCosta. 21st Century,Baroque,Historic,Romantic Period,Singer/Songwriter. 4 pages. Richard deCosta #897288. Published by Richard deCosta (A0.1308011). Haunting electronica rendition of Poe's To One in ParadiseEmbark on a melodious journey through Edgar Allan Poe's To One in Paradise with this captivating vocal duet. The neo-Baroque intricacies entwined within the score escort the listeners back to a time of ornate expressions and profound emotions. The composition is laden with melodious arcs that ascend to euphoric peaks and descend into contemplative valleys, echoing the poignant essence of Poe's verses. The vocalists, enveloped in a tender dialogue, weave through the stanzas, their voices entwining with grace, and delving into the sorrow and hope inked in the poet's words. This piece is a heartfelt ode to the ethereal beauty of cherished memories and the melancholy of lost love. A timeless narrative that resonates through the ages, waiting to be unveiled by the emotive prowess of passionate performers.To One in ParadiseBy Edgar Allan PoeThou wast that all to me, love,For which my soul did pine—A green isle in the sea, love,A fountain and a shrine,All wreathed with fairy fruits and flowers,And all the flowers were mine.Ah, dream too bright to last!Ah, starry Hope! that didst ariseBut to be overcast!A voice from out the Future cries,“On! on!�—but o’er the Past(Dim gulf!) my spirit hovering liesMute, motionless, aghast!For, alas! alas! with meThe light of Life is o’er!No more—no more—no more—(Such language holds the solemn seaTo the sands upon the shore)Shall bloom the thunder-blasted tree,Or the stricken eagle soar!And all my days are trances,And all my nightly dreamsAre where thy grey eye glances,And where thy footstep gleams—In what ethereal dances,By what eternal streams.

Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por Bulerías) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetas�. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña� that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito� introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother� of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.

Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Published by Richard Hirsch (A0.1314698). Many amateur guitarists and beginning students of guitar are ‘stuck in the first position’. The rest of the fretboard is ‘terra incognita’. They don’t know where the notes are and they don’t know how to get to them and use them in playing melodies. To help remedy this situation, I offer a collection of scales and exercises I have developed over the years that have helped me master the fretboard of the guitar and that I have used to warm up my left and right hands before practicing or playing proper pieces. Guitarists afraid to move up the fretboard miss out on all the tonal nuances that the guitar has to offer. They also often have undeveloped left hand technique with a little finger that flies around helplessly and uselessly. These scales and exercises will, if played regularly, put the little finger to good use and guide the left hand to orient to the fretboard properly, staying close to the fretboard with fingers that move as little and as efficiently as possible. They are also relaxing and fun to play around with. I read somewhere a while back that medical science had found that pianists were less likely to develop brain diseases. The scientists attributed this to the many hours pianists spend playing scales, as this is like a gentle brain massage. So scales are not only good warm up exercises for the fingers but also good warm-ups for the brain.The scale exercises written here in the keys of G and C should be played in different keys in higher positions on the fretboard. Students can try to see just how far up the neck they can go to reach the highest notes. After a while, what seemed challenging and strange will start to feel comfortable and familiar. Don’t hesitate to develop new variants of the scales when you grow tired of playing them as I propose here. Have fun playing and playing with the scales!The exercises often start in one position and move toward other higher or lower positions on the fretboard. When moving from one position to another, follow the suggested fingerings to utilise what is called a lead finger to move the hand to the next position. This will make the movement smooth and not interrupt the flow of the scale. In the end all movement should look and feel seamless and effortless.I have chosen scales in major keys I think are particularly good to play on the guitar. To practice a scale in a minor key, start the exercise in the related major key from the fundamental of the minor key, for example, to play an E minor scale start the G major exercise on an E and play from there. This is one way of creating new variants of these scales. Another way to vary the exercises is to play the scales in different time signatures or rhythms.I believe these exercises are particularly helpful for amateur guitarists who play in ensembles of different kinds, duos, trios, quartets, where the guitarist often only has one melodic line to play. Such melodies often sound much better played in higher positions where the guitar can be made to sing, rather than in the first position where the same tones, especially on open strings, often sound rather dull. From my own experience, I find that when I play a melody in a higher position using all the fingers of the left hand, the melody not only sounds better, the fingers remember the melody better. 

Piano Solo - Level 3 - Digital Download SKU: A0.1262310 By The Carpenters. By John Bettis and Richard Carpenter. Arranged by Timothy Stapay. Film/TV,Pop,Rock,Singer/Songwriter,Standards. Score. 2 pages. Timothy Stapay #855346. Published by Timothy Stapay (A0.1262310). A piano solo arrangement of Yesterday Once More;  made famous by The Carpenters.  Yesterday Once More, written by Richard Carpenter and John Bettis, is a hit song by the Carpenters from their 1973 album Now & Then. Thematically the song concerns reminiscing about songs of a generation gone by. It segues into a long medley, consisting of eight covers of 1960s tunes incorporated into a faux oldies radio program. The work takes up the entire B-side of the album.The single version of the song peaked at number 2 on the Billboard Hot 100 chart, kept from the number 1 spot by Bad, Bad Leroy Brown by Jim Croce.  It was the duo's fifth number two hit and makes them the act with the second-most number two hits on the chart behind Madonna. The song also peaked at number 1 on the easy listening chart, becoming their eighth number 1 on that chart in four years.   It is the Carpenters' biggest-selling record worldwide and their best-selling single in the UK, peaking at number 2 Richard Carpenter stated, on a Japanese documentary, that it was his favorite of all the songs that he had written. He has performed an instrumental version at concerts.Lyrics:[Verse 1]When I was young, I'd listen to the radioWaitin' for my favorite songsWhen they played, I'd sing alongIt made me smile[Pre-Chorus 1]Those were such happy timesAnd not so long agoHow I wondered where they'd goneBut they're back againJust like a long-lost friendAll the songs I loved so well[Chorus 1]Every sha-la-la-laEvery whoa, whoa-oh still shinesEvery shing-a-ling-a-lingThat they're starting to sing so fineWhen they get to the partWhere he's breaking her heartIt can really make me cryJust like before, it's yesterday once more(Shoobie-doo, lang, lang)(Shoobie-doo, lang, lang) [Verse 2]Lookin' back on how it was in years gone byAnd the good times that I hadMakes today seem rather sadSo much has changed[Pre-Chorus 2]It was songs of loveThat I would sing to themAnd I'd memorize each wordThose old melodiesStill sound so good to meAs they melt the years away[Chorus 2]Every sha-la-la-laEvery whoa, whoa-oh still shines(Only oldies, but goodies)Every shing-a-ling-a-lingThat they're starting to sing so fineAll my best memoriesCome back clearly to meSome can even make me cryJust like before, it's yesterday once more(Shoobie-doo, lang, lang) [Outro]Every sha-la-la-laEvery whoa, whoa-oh still shinesEvery shing-a-ling-a-lingThat they're starting to sing so fineEvery sha-la-la-laEvery whoa, whoa-oh still shinesEvery shing-a-ling-a-lingThat they're starting to sing so fine...

Easy Piano - Level 1 - Digital Download SKU: A0.1270216 By Minnie Riperton. By Minnie Riperton and Richard Rudolph. Arranged by Jhavilah. Film/TV,Multicultural,Pop,Rock,Singer/Songwriter,World. Score. 3 pages. Jhavilah #862649. Published by Jhavilah (A0.1270216). Lovin' You is a song recorded by American singer Minnie Riperton from her second studio album, Perfect Angel (1974) 1 . The song was written by Riperton and Richard Rudolph, produced by Rudolph and Stevie Wonder, and released as the album's fourth single on January, 1975. The song peaked at number one on the US Billboard Hot 100 on April 5, 1975. Additionally, it reached number two on the UK Singles chart, and number three on the Billboard R&B chart . According to the liner notes from Riperton's compilation album Petals, the melody for Lovin' You was created as a distraction for her baby daughter (Maya Rudolph) so that Minnie and her husband Richard could hang out. Maya was in the studio with Riperton on the day it was recorded and Riperton can be heard singing her daughter's name at the end, but only in the unedited or album version. The song is a love song that features Riperton's signature high-pitched vocals. The song has been covered by many artists and has been used in various films and TV shows  Lovin' You is considered one of Riperton's most popular and enduring songs.

Easy Piano - Level 1 - Digital Download SKU: A0.1270215 By Minnie Riperton. By Minnie Riperton and Richard Rudolph. Arranged by Jhavilah. Film/TV,Multicultural,Pop,Singer/Songwriter,Standards,World. Score. 3 pages. Jhavilah #862648. Published by Jhavilah (A0.1270215). Lovin' You is a song recorded by American singer Minnie Riperton from her second studio album, Perfect Angel (1974) 1 . The song was written by Riperton and Richard Rudolph, produced by Rudolph and Stevie Wonder, and released as the album's fourth single on January, 1975. The song peaked at number one on the US Billboard Hot 100 on April 5, 1975. Additionally, it reached number two on the UK Singles chart, and number three on the Billboard R&B chart . According to the liner notes from Riperton's compilation album Petals, the melody for Lovin' You was created as a distraction for her baby daughter (Maya Rudolph) so that Minnie and her husband Richard could hang out. Maya was in the studio with Riperton on the day it was recorded and Riperton can be heard singing her daughter's name at the end, but only in the unedited or album version 1 . The song is a love song that features Riperton's signature high-pitched vocals. The song has been covered by many artists and has been used in various films and TV shows  Lovin' You is considered one of Riperton's most popular and enduring songs.

Solo Guitar - Level 4 - Digital Download SKU: A0.1153109 Composed by Franz Xaver Gruber. Arranged by Richard Hirsch. Christmas,Multicultural,Religious,Standards,Traditional,World. Individual part. 8 pages. Richard Hirsch #753352. Published by Richard Hirsch (A0.1153109). An arrangement for solo guitar of the all-time favourite Christmas carol composed by Franz Gruber. The arrangement starts with an introduction of the melody in arpeggios of natural harmonics and moves into broken chords mixed with arpeggios for the first rendering of the song in 6/8 time. In the second part, at the shift to 4/4 time, the melody is rendered in an African inspired version with natural harmonics reminiscent of tunes played on an African kalimba (thumb harp) woven into the broken chords and arpeggios. As the speed increases, and the volume decreases, the arrangement moves steadily toward a total kalimba version. I like to think of the first part of the arrangement as symbolising a night in the little Austrian village where Gruber lived and composed the song. The natural harmonics and base notes and treble notes on open strings denoting the village chapel bells ringing on Christmas Eve. The second part tries to give a feel for how the melody can stand as a symbol of our common human origins in Africa, celebrating the birth and unity of humanity. The arrangement is within reach of intermediate to advanced students of guitar and is a good introduction to natural harmonics on the twelfth, seventh, and fifth frets. The African inspired polyrhythm fingerpicking in the second part consists basically of the thumb alternating with the index and middle fingers in a repetitive cycle. The second part is notated in 4/4 time, but can perhaps be more easily be read and played as 8/8 time, as practically everything, especially towards the end of the arrangement consists of eight notes. The polyrhythmic second part should have an accent on the downbeat of the first beat of the measure followed by an accent at 3and (an upbeat), just before the fourth and final beat of the measure. Reading the four part harmony of the score may at first present a challenge but if played basically as eight notes followed by eight notes everything should come out right in the end. Refer to the mp3 version provided with the score if in doubt. I do not mark the natural harmonics explicitly in the tablature, there are simply too many of them. The diamond shaped notes in the notation denoting harmonics are found directly above the corresponding fingerings in the tablature. It has been a real joy to work with this arrangement of the song and I hope it brings joy to others in playing it, giving new life to the traditional melody.