C Instrument - Digital Download SKU: A0.808777 By King Cole Trio. By Mel Torme, Melvin H Torme, and Robert Wells. Arranged by Philip Jackson. Jazz. Lead Sheet / Fake Book. 1 pages. Philip M Jackson #3873113. Published by Philip M Jackson (A0.808777). This sheet music is a 1-page lead sheet for The Christmas Song (Chestnuts Roasting on an Open Fire). Words and Music by Mel Torme and Robert WellsPhiliphttps://freewheelinguitar.com/

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1463336 Composed by Richard M. Sherman and Robert B. Sherman. Arranged by Will Corbin. Children,Film/TV. 21 pages. Will Corbin #1042027. Published by Will Corbin (A0.1463336). Julie Andrews, as Mary Poppins, sings this tune to the Banks children to get them to clean up their room in the 1964 Disney movie. The inspiration, or so the story goes, came to lyricist Robert Sherman after his children received oral polio vaccines -- on a sugar cube.If you need other instrumentation, I'm happy to help. Contact me at wilcor@aol.com.

Piano,Violin - Level 4 - Digital Download SKU: A0.572948 Composed by Robert Lowry. Arranged by James Michael Stevens. 20th Century,Contemporary,Easter,Sacred,Wedding. 9 pages. James M Stevens Music ASCAP #4640687. Published by James M Stevens Music ASCAP (A0.572948). This is an arrangement for solo violin & piano of the classic hymn tune by Robert Lowry, I Need Thee Every Hour. There is a separate violin part in the score. The piano track as heard is available under I Need Thee Every Hour Piano Track. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College.

Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-29346 Arranged by Dave Black and with new music by Andy Albritton. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred SingPraise Series. Sacred. Part(s). 33 pages. Jubilate Music Group - Digital #00-29346. Published by Jubilate Music Group - Digital (JX.00-29346). English. Robert Grant; quoting LYONS by J. M. Haydn.Worship the King, Our God is an energetic, contemporary arrangement of the triumphant hymn by Robert Grant (1778-1838), O Worship the King. Using the familiar hymn tune, LYONS, attributed to Johann M. Hayden (1737-1806), and with the addition of a powerful new chorus, this gem for blended/contemporary worship is sure to please choir and congregation alike.

Piano Solo - Level 3 - Digital Download SKU: A0.1259612 By James Michael Stevens. By Robert Lowry. Arranged by James Michael Stevens. Christian,Jewish,Lent,Sacred. Score. 4 pages. James M Stevens Music ASCAP #852915. Published by James M Stevens Music ASCAP (A0.1259612). Written July 4, 2023, this is an original piano arrangement of the classic gospel hymn, “Shall We Gather at the River� by Robert Lowry in a quiet and meditative style. James Michael Stevens is a prolific composer residing in Nashville, TN and Music Dean of Welch College.

Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.1039959 Composed by Richard M. Sherman and Robert B. Sherman. Arranged by Robert Rund. A Cappella,Broadway,Musical/Show. Octavo. 9 pages. Robert Rund #644826. Published by Robert Rund (A0.1039959). TTBB acapella arrangement in the barbershop style of this classic from Mary Poppins.

Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.1031040 Composed by Robert Fields. Arranged by Robert Fields. Christmas. 23 pages. Robert Fields #2852375. Published by Robert Fields (A0.1031040). Get your Santa Claus hats and cups of hot cocoa! Now you can play some of the most well known Christmas tunes with a modern approach. Your saxophone quintet will be able to ring in the holidays with this new chart!Featured in the chart, in order, are Jingle Bells, I'm Dreaming of a White Christmas, Joy to the World, and We Wish You a Merry Christmas.

Piano Solo - Level 2 - Digital Download SKU: A0.972941 Composed by Robert Long. 20th Century,Instructional. Score. 2 pages. Robert Long #6429483. Published by Robert Long (A0.972941). Ballet piano sheet music for emboites sautes releves from Robert Long's Etudes II album. Light but lively and almost urgent in demeanor, this selection is subtitled I'm late, where are the car keys?. Good piece for releves.

String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1081261 Composed by Irwin Kostal, Richard M Sherman, and Robert B Sherman. Arranged by Luis Turina and Nonamé Música. 20th Century,Broadway,Film/TV,Musical/Show,Wedding. Score and parts. 22 pages. Nonamé Música #685399. Published by Nonamé Música (A0.1081261). (Spanish below) Based on the suite A Symphonic Fantasy, we did a conversion with three of the most remembered melodies from Mary Poppins. You have an intro with chim-chim-cheree, followed by feed the birds, but they don't fully develop. After that, A Spoon of Sugar, with the birds part made by the first violin and the second and viola enkoying. The next part is, now complete, Chim-Chim-Cheree, with the melody starting in the cello, and then passing by the rest of instruments from lower to higher. When the second plays the melody, the first plays a counter-theme a little bit tricky. And, in the end, now complete, Feed the Birds, with constant dialogs between the violins. Tested and approved arrangement. All Nonamé arrangements are prepared to avoid page turns if you print the covers properly. Basándonos en la suite A Symphonic Fantasy, hicimos una conversión con tres de las melodías más recordadas de Mary Poppins. Tienes una introducción con chim-chim-cheree, seguida de Pan para los pájaros, pero no se desarrollan por completo. Después, Con un Poco de Azúcar, con la parte de los pájaros hecha por el primer violín y el segundo y la viola disfrutando. La siguiente parte es, ya completa, Chim-Chim-Cheree, con la melodía comenzando en el violoncello, y luego pasando por el resto de instrumentos de más grave a más agudo. Cuando el segundo toca la melodía, el primero tiene un contratema un poco complicado. Y, al final, ya completo, Pan Para los Pájaros, con diálogos constantes entre los violines. ¡Arreglo probado y aprobado! Todos los arreglos de Nonamé están preparados para evitar el paso de página si imprimes las portadas correctamente.

String Ensemble Cello,Double Bass,Viola,Violin - Level 4 - Digital Download SKU: A0.1081259 Composed by Irwin Kostal, Richard M Sherman, and Robert B Sherman. Arranged by Luis Turina and Noname Musica. 20th Century,Broadway,Children,Film/TV,Musical/Show,Wedding. Score and parts. 23 pages. Nonamé Música #685401. Published by Nonamé Música (A0.1081259). (Spanish below) Based on the suite A Symphonic Fantasy, we did a conversion with three of the most remembered melodies from Mary Poppins. You have an intro with chim-chim-cheree, followed by feed the birds, but they don't fully develop. After that, A Spoon of Sugar, with the birds part made by the first violin and the second and viola enkoying. The next part is, now complete, Chim-Chim-Cheree, with the melody starting in the cello, and then passing by the rest of instruments from lower to higher. When the second plays the melody, the first plays a counter-theme a little bit tricky. And, in the end, now complete, Feed the Birds, with constant dialogs between the violins. Tested and approved arrangement. Bass part is optional. All Nonamé arrangements are prepared to avoid page turns if you print the covers properly. Basándonos en la suite A Symphonic Fantasy, hicimos una conversión con tres de las melodías más recordadas de Mary Poppins. Tienes una introducción con chim-chim-cheree, seguida de Pan para los pájaros, pero no se desarrollan por completo. Después, Con un Poco de Azúcar, con la parte de los pájaros hecha por el primer violín y el segundo y la viola disfrutando. La siguiente parte es, ya completa, Chim-Chim-Cheree, con la melodía comenzando en el violoncello, y luego pasando por el resto de instrumentos de más grave a más agudo. Cuando el segundo toca la melodía, el primero tiene un contratema un poco complicado. Y, al final, ya completo, Pan Para los Pájaros, con diálogos constantes entre los violines. ¡Arreglo probado y aprobado! La parte de contrabajo es opcional. Todos los arreglos de Nonamé están preparados para evitar el paso de página si imprimes las portadas correctamente.

String Quartet Cello,String Quartet,Viola,Violin - Level 1 - Digital Download SKU: A0.1122800 By Luke Combs. By Luke Combs, Robert Williford, and Wyatt Durrette. Arranged by Luis Turina and Nonamé Música. Country,Pop,Singer/Songwriter,Wedding. 11 pages. Nonamé Música #723757. Published by Nonamé Música (A0.1122800). (Spanish below) Arrangement commissioned by a groom for his entrance at the wedding. Beautiful song by Luke Combs, the theme changes between violin 1 and viola, while the cello just plays the bass and violin 2 doesn't suffer at all. Very simple to play. Arrangement on a single page per instrument to facilitate its interpretation outdoors. Arches, fingerings, rehearsal letters and dynamics to be able to make a good sightreading. More Noname Music arrangements on our channel: Noname Music Arreglo realizado por encargo de un novio para su entrada en la boda. Preciosa canción de Luke Combs, el tema se lo reparten el violín 1 y la viola, mientras que el cello se limita a hacer el bajo y el violín 2 no sufre nada. Muy sencillo de interpretar. Arreglo en una sola página por instrumento para facilitar su interpretación al aire libre. Arcos, digitaciones, letras de ensayo y matices para poder hacer una buena lectura a primera vista. Más arreglos de Nonamé en nuestro canal: Nonamé Música

String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Published by Geoffrey Peterson (A0.942953). Link to complete recording: https://soundcloud.com/geoffrey-peterson/sets/the-edmund-fitzgerald-concerto On November 9th, 1975, the S.S. Edmund Fitzgerald left port in Superior, Wisconsin. The 729-foot-long iron ore carrier, loaded with 26 thousand tons of taconite pellets for the auto industry, was bound for Detroit. Earlier that day, the weather service had issued a gale warning. This was not unusual, considering that gale storms are typical during November on Lake Superior. The Fitzgerald’s Captain, Ernest McSorley, and her 29-member crew headed northeast unaware of the maelstrom they would soon encounter. At around 2 a.m., Bernie Cooper, captain of the Arthur M. Andersen, another freighter which was following a few miles behind the Fitzgerald, radioed Captain McSorley to consult with him about the worsening storm. They had both decided to take a more northerly route along the Canadian shore, which they hoped would provide some shelter from the violent gale winds and waves. The Fitzgerald’s long-range radar stopped working the following day and was needed in order to avoid Six-Fathom Shoal, a shallow area of Lake Superior that could rupture the ship’s hull. McSorley soon radioed the Anderson to report that the Fitzgerald had sustained some topside damage...a fence rail down, two vents lost or damaged, and a starboard list. A list meant that the Fitzgerald was taking on too much water and was causing it to lean to one side. The short-range radar also stopped working, and the radio direction beacon from nearby Whitefish Point vanished. This would make it impossible for the Fitzgerald to reach the lee waters of Whitefish Bay and escape the 80 mph winds churning 20 to 30-foot waves. At 7:10 p.m. that night, First Mate Morgan Clark of the Andersen radioed the Fitzgerald to see how they were doing. Captain McSorley replied, We’re holding our own. This was the last contact anyone would have with the Fitzgerald. Shortly thereafter, the Edmund Fitzgerald disappeared from the Anderson’s radar screen. All 29 of her crew were lost on November 10th, 1975. The Edmund Fitzgerald chronicles the tragic final voyage of the well-known shipwreck in 4 movements; Embarkment, The Gales, Six-Fathom Shoal (We’re holding our own.) and Entombment-Dirge. The concerto makes use of several musical quotes. The first is Spanish Ladies, an English sea chantey, which appears in both the 1st and 3rd movements. The second is the funeral march theme from the 2nd movement of Beethoven’s 3rd Symphony which is heard in the 4th movement of the concerto. In addition, a chime is rung 29 times during the final bars of the concerto to memorialize the men who lost their lives. The Crew of the S.S. Edmund Fitzgerald: Michael E. Armagost, Frederick J. Beetcher, Thomas D. Bentsen, Edward F. Bindon, Thomas D. Borgeson, Oliver J. Champeau, Nolan S. Church, Ransom E. Cundy, Thomas E. Edwards, Russell G. Haskell, George J. Holl, Bruce L. Hudson, Allen G. Kalmon, Gordon F. MacLellan, Joseph W. Mazes, John H. McCarthy, Ernest M. McSorley, Eugene W. O'Brien, Karl A. Peckol, John J. Poviach, James A. Pratt, Robert C. Rafferty, Paul M. Riippa, John D. Simmons, William J. Spengler, Mark A. Thomas, Ralph G. Walton, David E. Weiss, Blaine H. Wilhelm.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.879973 Composed by Robert Steadman. Contemporary. Octavo. 9 pages. Robert Steadman #4296733. Published by Robert Steadman (A0.879973). A setting of 'Before Action' by  William Noel Hodgson M.C.

Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabrik Music Publishing #4727479. Published by Musik Fabrik Music Publishing (A0.534583). Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles KÅ“chlin in 1973.   Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles KÅ“chlin and Erik Satie, as well as numerous articles, editions and reviews.   As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and other completions include La Saulaie and the Nocturne and Poème for violin and orchestra as well as Debussy’s other Poe opera Le Diable dans le Beffroi.Préface en français : Au debut des années 1890, Debussy a composé le debut d’une pièce lyrique en Mi majeur pour violon et piano, peut-être pour accompagner la Nocturne pour violon que Debussy a destinée pour le violoniste belge Eugène Ysaÿe. Après la morte de Debussy en 1918, sa deuxième femme Emma avait l’habitude d’offrir ses pages d’esquisses aux intérpètes et compositeurs en souvenir de son regreté mari. Cette page d’esquisse a été offerte aux compositeur et pianiste cubain Joaquin Nin (1879-1949). Cette page a été mise en vente dans la catalogue de l’antiquaire britannique Lisa Cox en 2010 et malgré que cette esquisse est peut-être le début d‘une mélodie pour contralto et piano, l‘idée dynamique dans la douzième mesure suggère la violon, surtout qu‘elle commence sur la.

Small Ensemble Clarinet,Flute,Oboe,Piano - Level 5 - Digital Download SKU: A0.923701 Composed by Cesar Auguste Franck. Arranged by Robert Fruehwald. 20th Century,Contemporary. Score and parts. 39 pages. Robert Fruehwald #2165237. Published by Robert Fruehwald (A0.923701). I have a love-hate relationship with the Cesar Franck D Minor Symphony. It was the first large scale romantic work that I played as a member of a youth orchestra. I remember the thrill of being immersed in the overwhelming drama of the work. As I have returned to the piece over the years, I still love it, or rather I love parts of it. It is a very, very long work. It takes a while to get to the point. The point of the piece, to me, is the last movement. It is fast, exciting, maybe even joyous. The long, dark, angst-ridden build-up seemed profound to me as a teenager. I am less patient today. Now I wish Franck had simply started with the last movement. I decided to try rewriting the symphony myself. I would start with material from the last movement. I would use all of the basic musical material of the piece, but I would condense it down to ten to fifteen minutes of music. I had originally intended to leave the romantic character of the work intact. That intention didn't last very long. As I worked on the piece, it very quickly became more post-modern than romantic. I think that's fine. The profundity may be gone, but I think the piece is more fun this way. As I get older the scales of my life are tipping more and more toward fun and less and less toward profundity. It's kind of nice that, as I age, I see more fun ahead me even if that means I'm seeing profundity recede in the rear-view mirror.