SKU: A0.1275762

Mixed Quintet or Quartet. The 1941 classic written by Mack Gordon and Harry Warren is performed in a 12/8 Blues style. Features Part 4 as the Soloist.  

Designed mainly for family groups such as brass, woodwinds and strings. Mixing voice types can be done with care. See cover sheet on arrangement for instrumentation.

Can be performed as a Quartet by omitting Part 2.

The Audio Sample represents a Sax Quintet featuring the Tenor Sax as Soloist.

A full length audio version can be heard in the YouTube video.

This arrangement is also available for many other ensembles and soloists.

Look for more arrangements by Roger Wallace.

SKU: A0.1152575

This arrangement is intended to be flexible and should be adapted to fit the needs of the choir. The Lead line, notated in the top staff, is intended to be miked and amplified. This line could also be assigned to a group within the choir or split between multiple soloists. Throughout the arrangement, the choir accompanies the soloist. During the verses this accompaniment is sparse and accessible. The choruses of the song are tutti sections where the full choir and soloist join together, sometimes in harmony and sometimes in choral unison.

SKU: A0.1275760

Mixed Quintet or Quartet. The 1941 classic written by Mack Gordon and Harry Warren is performed in a 12/8 Blues style. Features Part 4 as the Soloist.  

Designed mainly for family groups such as brass, woodwinds and strings. Mixing voice types can be done with care. See cover sheet on arrangement for instrumentation.

Can be performed as a Quartet by omitting Part 2.

The Audio Sample represents a Woodwind Quintet featuring the French Horn as Soloist.

A full length audio version can be heard in the YouTube video.

This arrangement is also available for many other ensembles and soloists.

Look for more arrangements by Roger Wallace.

SKU: A0.1404034

Rise is a joyful, Baroque-inspired work for SATB chorus and high-voice soloist. The text speaks to all kinds of rising - resurrection, springtime, and rebirth - as well as to collective resistance (rising up) in opposition to oppression and tyranny. Rise is appropriate for the Easter season, Ascension, and springtime, as well as any occasion celebrating the champions of liberty and freedom.

“Rise� is scored for SATB choir and solo (high voice). Soloists should feel free to add “Baroque� style ornamentation as appropriate. The keyboard part can be similarly ornamented, and played on either piano or harpsichord.

This arrangement is for keyboard + choir and soloist. A separate solo-only score is included (p 14-15). Additional string trio parts available.

SKU: A0.1129024

Peter Stöve ‘What If Benny Goodman…’ series, Vol. 1! (A take-off on events that could have happened with the Benny Goodman Orchestra’s book of arrangements if things in jazz history had taken another turn). What if Benny Carter had not sailed for Europe in 1935 to become staff arranger with the BBC, but instead had helped out Benny Goodman with providing scores for his ‘Let’s Dance’ program? And suppose Carter had done the same trick that Fletcher Henderson pulled later on, e.g. adapting already existing scores of his own band for the Benny Goodman Orchestra? Carter’s ‘Symphony In Riffs’ is presented here as a piece that could have been a cornerstone of the Goodman band library. The sax soli written by Carter is there, but the clarinet dominates the second strain in a Glenn Miller-styled section, and of course later with an extended solo. Other soloists include trb 1, piano, tpt 2 and ts 1. The two different strains are juxtaposed to each other, to make for a maximum of variety. Scored for the line-up of the Benny Goodman Orchestra of 1935: solo clt/2 as/2 ts/3 tpt/2 trb/rhy. Tpt 1 to Eb3. Difficult for multiple reasons: • The clarinet soloist must be a first-class ‘BG-wannabe’. Fluent soloist, comfortable in the upper register. • Strong lead-alto required, with an old-skool ‘singing’ tone. • Lead trumpet must be able to ‘carry off’ the final section from bar 197 onwards. • Driving rhythm section needed; swinging (preferably acoustic) rhythm guitarist and a bassist who doesn’t shy away from playing compelling bass-lines. If your band meets these requirements: have fun!

SKU: A0.1030056

This is an impressive spiritual setting for the concert, contest or festival choir!  Featuring syncopated rhythmic figures in the lower voices juxtaposed against the timeless melody presented by a soloist or soloists. This a cappella arrangement unfolds, all solidly supported by an optional rhythmic djembe accompaniment.  As the excitement builds, a vocal pyramid launches the choir and soloist(s) into a fortissimo ending and a final flourish. Highly recommended!

SKU: A0.1275765

Mixed Quintet or Quartet. The 1941 classic written by Mack Gordon and Harry Warren is performed in a 12/8 Blues style. Features Part 4 as the Soloist.  

Designed mainly for family groups such as brass, woodwinds and strings. Mixing voice types can be done with care. See cover sheet on arrangement for instrumentation.

Can be performed as a Quartet by omitting Part 2.

The Audio Sample represents a String Quintet featuring the Cello as Soloist.

A full length audio version can be heard in the YouTube video.

This arrangement is also available for many other ensembles and soloists.

Look for more arrangements by Roger Wallace.

SKU: A0.1275761

Mixed Quintet or Quartet. The 1941 classic written by Mack Gordon and Harry Warren is performed in a 12/8 Blues style. Features Part 4 as the Soloist.  

Designed mainly for family groups such as brass, woodwinds and strings. Mixing voice types can be done with care. See cover sheet on arrangement for instrumentation.

Can be performed as a Quartet by omitting Part 2.

The Audio Sample represents a Sax Quartet featuring the Tenor Sax as Soloist.

A full length audio version can be heard in the YouTube video.

This arrangement is also available for many other ensembles and soloists.

Look for more arrangements by Roger Wallace.

SKU: A0.1256762

Performed here by Alec Keith (flute), Matt Weiss (violin) and the Octava Chamber Orchestra under guest conductor Ian Alvarez

Westerly is inspired by the old English folk song Westron Wynde and by the Renaissance masses based on that folk song

It is an expanded version of Celebration originally written for James Pellerite and his North American Native flute [NAF]

In order to make the piece accessible to a wider range of performers this version uses a concert flute, with wider range and with just a few of the NAF decorations, and the violin solo part has also been expanded, resulting in a miniature Double Concerto.
 Westerly uses four distinct themes and weaves them into a joyful whole. The flute soloist introduces himself with the traditional call of the North American Native flute (a repeated minor third phrase), which reappears from time to time in the rest of the piece, and then embarks upon a sort of jig in E flat major (second theme).
The violin soloist copies these flute phrases but then introduces the third theme of the work in the related key of C minor, and the string orchestra comes in.
 This third tune is based on the old Westron Wynde melody but it uses an unusual rhythm (3 3 2) and the excitement gradually begins to mount.
 So the two soloists rhapsodise on the various tunes and permutations along with the orchestral strings, mixing the various tunes together.
 In due course the fourth theme comes in, and it is quite surprising how it fits in with the E flat major - C minor interplay, since it is merely a 12 tone row. It follows some of the traditions of the 20th Century atonal composers, but, due to the context in which it is set, it takes on a warmth seldom found in atonal music.

SKU: A0.1275758

Mixed Quintet or Quartet. The 1941 classic written by Mack Gordon and Harry Warren is performed in a 12/8 Blues style. Features Part 4 as the Soloist.  

Designed mainly for family groups such as brass, woodwinds and strings. Mixing voice types can be done with care. See cover sheet on arrangement for instrumentation.

Can be performed as a Quartet by omitting Part 2.

The Audio Sample represents a Brass Quintet featuring the Trombone as Soloist.

A full length audio version can be heard in the YouTube video.

This arrangement is also available for many other ensembles and soloists.

Look for more arrangements by Roger Wallace.

SKU: S9.Q588033

Key: G major.

Improvised and also composed solo cadenzas, normally occuring towards the end of a bravura aria or an instrumental concerto movement, have existed since the late 16th century. They provide the performer with an opportunity for self-presentation in the form of a free style of playing or singing, based on themes and motifs from previous sections of the movement. Solo cadenzas are for the most part introduced by a six-four chord held by the orchestra; the soloist begins a protracting interpolation in free stlye, subsequently culminating on the dominant chord, usually with a trill. Whereas originally composers left solo cadenzas to be freely improvised, from the middle of the 19th century onwards they were frequently specifically written out. The increasing abuse of cadenzas as a mere display of free virtuosity, ignoring the style and impetus of the composition, played a substantial factor in this development. Thus Beethoven gives the soloist no opportunity whatsoever for free improvisation in his 5th piano concerto in which the cadenza becomes an integral, obligatory component of the complete work. In this unique series Schott Music presents cadenzas created for well-known instrumental concertos from the Classical and Romantic periods by major composers and soloists of our time. Nino Rota dedicated the Kadenzen zum Klavierkonzert Nr. 4 in G-Dur (Cadenzas of the Concerto No. 4 for Piano and Orchestra in G major) Hob. XVIII:4 by Joseph Haydn to Arturo Benedetti Michelangeli (1920-1995), who recorded them for the label EMI.