Bassoon,Cello,Clarinet,Double Bass,Flute,Low Voice,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.753643 Composed by Traditional. Arranged by John Hoesly. Contemporary,Film/TV,Folk,Traditional. 46 pages. PRS&B #5222659. Published by PRS&B (A0.753643). Wayfaring Stranger- for Solo Voice (Low Voice) and small orchestra. Traditional American Folk Song arranged by John Hoesly. Also known as Poor Wayfaring Stranger and I Am A Poor Wayfaring Stranger, this song probably originated in the early 19th century.  It has been recorded numerous times, but most significantly appears in the 2019 film 1917 where a soldier sings this plaintive melody to his fellow comrades just before going into battle. This arrangement is divided into two sections.  Section one is a very haunting scenario, very plain with insistent harmonic devices. The second section is a more elaborate version with more harmonic movement and tempo extensions to create more drama.  It ends as plaintively as it begins.

High Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1329064 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Romantic Period. 3 pages. Nicole Elyse DiPaolo #917034. Published by Nicole Elyse DiPaolo (A0.1329064). The first of its kind, and the first entry in the Accessible Accompaniments library’s collection of small-hand-optimized song literature publications, this is Richard Strauss’s beloved “Zueignung,� from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. “Small� is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.This edition was inspired by Boosey’s excellent small-hand edition of Frank Bridge’s “Love Went A-Riding� (erroneously labeled “simplified� on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Strauss’s op. 10 collection is much more widespread on today’s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Strauss’s songs are often so orchestral in spirit—much more so than the Bridge—that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Strauss’s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.The primary source material for this edition is Henle’s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompaniments’ distinctive house style, marked by its visual beauty and ease of reading.While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you don’t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibility—and that goes for singers, too!

Woodwind Ensemble - Level 5 - Digital Download SKU: A0.996114 Composed by Peter Ilyich Tchaikovsky. Arranged by Erik Cole. Romantic Period. 25 pages. Erik Cole #4792951. Published by Erik Cole (A0.996114). This very famous movement is quite a technical one! Since I already made a simpler student version, though, I went all-out, especially in the first oboe part. It's tough, but not much tougher than the flute part from the original. Keeping the accelerando at the end from getting too out of hand can significantly help with the difficulty level.

Concert Band - Digital Download SKU: AX.00-PC-0017406_BTX E-flat Baritone Saxophone. Composed by John Morris. Arranged by Douglas E. Wagner. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0017406_BTX. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017406_BTX). UPC: 038081517476.This iconic film theme arguably has significantly contributed to the near-cult following of the genius of the Mel Brooks and Gene Wilder film. The haunting musical aspects of this piece are characteristically represented in the arrangement. Feature your trumpet soloist for a tremendous Halloween program or at any time during the year! (3:15)Solo with ensemble.

Woodwind Ensemble Bassoon,English Horn,Oboe - Level 5 - Digital Download SKU: A0.996139 Composed by Amilcare Ponchielli. Arranged by Erik Cole. Romantic Period. 101 pages. Erik Cole #6498527. Published by Erik Cole (A0.996139). A double reed transcription of the Dance of the Hours from La Gioconda, made famous by Disney's Fantasia. The Night section has been cut, as it's the least famous and included many string techniques that weren't very practical for winds to mimic, but it is otherwise true to the original. The 3rd parts are significantly easier than the others, but it is a challenging piece to take up to tempo, regardless. All oboe and bassoon parts are divisi. I was pleasantly surprised at how well almost all of it worked, especially after lowering the key to an easier C/F major which suits the oboe/bassoon range much better. The numerous rubatos/tempo changes were tough to accurately portray in a multi-track recording done to a click track, but I thought it generally came out well without too many inconsistencies. It's a very fun piece to play if your group is up to the challenge.

Small Ensemble,Strings Drum Set,High Voice,Low Voice,Medium Voice - Digital Download SKU: A0.922041 Composed by Denny Glasscock and Greg Jenkins (drums). Christian,Latin,Praise & Worship,Sacred. Score and parts. 6 pages. Denny Glasscock #6048121. Published by Denny Glasscock (A0.922041). This is the solo version of Why Not Come to Jesus Now? by Denny Glasscock. Also available is a nice instrumental performance/accompaniment digital recording of the song by a string trio (violin, viola and violoncello), accompanied by piano, drums and bass (rhythm trio). The violin, viola and violoncello performed along with the rhythm trio, complex back and forth exchanges of melody vs. counter melody. A second melody, the refrain or chorus, significantly contrasts with the prior one (1st verse). The exchange is repeated (2nd verse). At the ending, the piece concludes with a layering of tones and a light stop. Included are leads sheets for three different keys: Bb, A, and G. See accompaniment tracks for this vocal solo - key of Bb (range low C to D), item no. S0.866387, and key of A (from low B to C), item no. S0.866401, are good for sopranos and possibly tenors. Key of G (item no. S0.866405) is good for altos and baritones.

Violin, viola, cello and piano - advanced - Digital Download SKU: S9.Q19832 Edited from the Text of the Carl Maria von Weber Complete Edition. Composed by Carl Maria von Weber. This edition: score and parts. Downloadable, Score and parts. Schott Music - Digital #Q19832. Published by Schott Music - Digital (S9.Q19832). Key: B flat major.Weber's Quartet is a successful symbiosis of concert and chamber music elements which was to contribute significantly to the genre's change of function. It is especially due to the virtuoso elaboration of the piano part that the work leaves the sphere of domestic music-making and begins to seek its place in the concert hall. The edition is based on Vol. VI/2 of the Weber Complete Edition.

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1087333 Composed by Claude Debussy. Arranged by Diego Marani. 20th Century,Classical,Instructional,Romantic Period,Standards. Score and parts. 21 pages. Diego Marani #691545. Published by Diego Marani (A0.1087333). Suite bergamasque (L. 75) is a piano suite by Claude Debussy. He began composing it around 1890, at the age of 28, but significantly revised it just before its 1905 publication. The popularity of the 3rd movement, Clair de lune, has made it one of the composer's most famous works for piano, as well as one of the most famous piano compositions of all-time. This arrangement for brass quintet (Bb Trumpet 1, Bb Trumpet 2, F Horn, Trombone, Tuba) of the 1st movement, Prelude, is in the key of F major and marked moderato tempo rubato. Its legato phrases give it a smooth, flowing feel. It is suitable for classroom, repertoire, recital and also wedding.

E-Flat Clarinet,Piano - Level 1 - Digital Download SKU: A0.548708 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411719. Published by jmsgu3 (A0.548708). Out of the Depths I Cry to You by Martin Luther arranged for alto clarinet & piano. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

Choral Choir (SSA) - Level 2 - Digital Download SKU: A0.891202 Composed by Laurie Betts Hughes. Contemporary. Octavo. 11 pages. Dandelion Music Press #3104027. Published by Dandelion Music Press (A0.891202). If you are looking to highlight your women's group and feature soloists from within the ensemble, this women's-choir-friendly piece is a harmonically interesting and pianistically supported way to explore those textures.The composer writes: I often find it difficult to find music for grown women: much treble repertoire is written for children's ranges and feature children's themes, and the remainder seems to be about romantic relationships.  When searching for a text that speaks to the nature of a woman, I found Emily Dickinson's little-known For largest Woman's Heart I knew.  It seemed to pair naturally with Heart! We will forget him! and provide context rooted in personal strength.While Dickinson was a prolific private poet, fewer than a dozen of her nearly 1,800 poems were published during her lifetime, usually altered significantly to fit the conventional poetic rules of the time.  A complete, and mostly unaltered, scholarly collection of her poetry first became available five full years after Aaron Copland's musical settings of her poetry.  Laurie Betts Hughes explores what Copland never had the chance to: Emily Dickinson's poem as the poet had conceived it, unedited, and with the punctuation she intended.2017 Choral Contest EntryLaurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com

Choral Choir (3-Part) - Level 3 - Digital Download SKU: A0.922040 Composed by Denny Glasscock and Greg Jenkins (drums). Christian,Latin,Praise & Worship,Sacred. Octavo. 26 pages. Denny Glasscock #6045799. Published by Denny Glasscock (A0.922040). This is the choral SAB version of Why Not Come to Jesus Now, by Denny Glasscock. Also available is a nice instrumental performance/accompaniment digital recording of the song by a string trio (violin, viola and violoncello), accompanied by piano, drums and bass (rhythm trio). The violin, viola and violoncello duplicate the soprano, alto and baritone voices, respectively, of the SAB choral version of the song. Performed along with the rhythm trio, it aids the vocalists in hearing the melody vs. the counter melody at work. The duplications are not obvious, due to the complex back and forth exchanges of melody vs. counter melody, except when the effect is desired with the melody at the beginning of a new section, briefly. At these points, the new melody significantly contrasts the prior one. At the ending, the piece concludes with a layering of tones and a light stop. Click on the publisher's name, Denny Glasscock, above to find the instrumental ensemble (winds and strings) and solo versions of the song, where, also, the accompaniment version is offered.

Tenor voice or soprano voice solo, SATB choir, organ - Medium - Digital Download SKU: MQ.6414-E Composed by Leo Nestor. Christmas, Christmas-Sacred. Score & instrument parts. 13 pages. E. C. Schirmer Music Company - Digital #6414-E. Published by E. C. Schirmer Music Company - Digital (MQ.6414-E). Sing Lullaby was commissioned by music director Michael Batcho for the Choir of the Cathedral of St. John the Evangelist, Milwaukee and composed in California during the summer of 2000. Originally scored for tenor solo, mixed chorus, oboe, French horn and violoncello obbligato and organ, an independent fabric for string orchestra was composed for a performance by the Choir of the Basilica of the National Shrine of the Immaculate Conception on Christmas of the same year. The setting was further developed for the debut performance of The Catholic University of America Chamber Choir and Chamber Players at the Pope John Paul II Cultural Center in December of 2002. In the 2008 revision, the composer decided that the obbligato trio of clarinet, French horn and bassoon most clearly evoked the ethos of shepherds, offering optimal timbral contrast to string orchestra and chorus. Substantial emendations of the entire score were made for the present edition of Sing Lullaby, first performed by The Catholic University of America Chamber Choir, University Singers, University Chorus and Symphony Orchestra at the Annual Christmas Concert for Charity at Washington's Basilica of the National Shrine of the Immaculate Conception on 7 December 2012 with tenor Rick Christman, the composer conducting.Variation form, long favored by composers in settings of strophic music, imparts a perception of improvisation as singers and players alter harmonies, melody and rhythm to forward the unfolding narrative. Sensitive performance will caress the natural undulation of the largely ternary meter, tapering unstressed beats at the ends of phrases while maintaining the steady flow of the accompaniment.Two editions of the work are published: (I) for mixed chorus, solo, obbligato trio and organ and (II) for mixed chorus, solo, obbligato trio, string orchestra, harp and organ. The edition for chorus and obbligato instruments adds timbral variety to a Christmas concert while employing modest instrumental means which are easily available. Although in Version II both harp and organ are scored ad libitum, the harp adds significantly to the counterpoint of the obbligato instruments, providing further rhythmic impetus and textural variety. Conceived for lyric tenor, the solo may also be sung by soprano.

Baritone Horn TC,Euphonium,Piano - Level 1 - Digital Download SKU: A0.552829 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411723. Published by jmsgu3 (A0.552829). Out of the Depths I Cry to You by Martin Luther arranged for baritone horn & piano. First verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. Piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics which are essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed compositions, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

Concert Band - Digital Download SKU: AX.00-PC-0017406_H1 1st F Horn. Composed by John Morris. Arranged by Douglas E. Wagner. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0017406_H1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017406_H1). UPC: 038081517476.This iconic film theme arguably has significantly contributed to the near-cult following of the genius of the Mel Brooks and Gene Wilder film. The haunting musical aspects of this piece are characteristically represented in the arrangement. Feature your trumpet soloist for a tremendous Halloween program or at any time during the year! (3:15)Solo with ensemble.

Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.553783 Composed by Claude Debussy. Arranged by Ray Thompson. 20th Century,Concert,Graduation. Score and parts. 36 pages. RayThompsonMusic #4359127. Published by RayThompsonMusic (A0.553783). The Suite Bergamasque  is a piano suite composed by Claude Debussy. It was first composed around 1890, at the age of 28, but was significantly revised just before its publication in 1905.The third and most famous movement of Suite bergamasque is Clair de lune.The Suite bergamasque consists of four movements:Prélude (Moderato, F major, Menuet (Andantino, A minor,Clair de lune (Andante très expressif, Dâ™­ major, Passepied (Allegretto ma non troppo, F♯ minor, This arrangement for double wind quintet/bass of the last movement.A passepied is a type of dance which originated in Brittany. Debussy's Passepied is a happy, strangely medieval piece, which is surprisingly faster than its Baroque counterparts. Throughout most of its duration, on the piano, the piece is played with staccato arpeggios in the left hand.The Other 3 movements are available arranged for symphonic wind.