SKU: A0.1263716

Am i the same girl, Swing Out Sister, Barbara Acklin, B Flat Major, Arrangement for String Orchestra with Chords and Drums, Score, Violin 1, Violin 2, Viola, Cello, Bass, Guitar/Keyboard, Drum Set, R&B, Soul.

SKU: A0.1263726

Am I The Same Girl, Swing Out Sister, Barbara Acklin, B Flat Major, Arrangement for String Quartet, Violin 1, Violin 2, Viola, Cello, Wedding, R&B, Soul, Pop, String Students.

SKU: A0.1263748

Am I The Same Girl, Swing Out Sister, Barbara Acklin, B Flat Major, Lead Sheet, Chords and Melody, Piano, Piano and Violin, Piano and Flute, Guitar, Guitar and Violin, Guitar and Flute, Two Guitars, Soul, R&B, Pop, Wedding.

SKU: A0.606460

You on my mind, a beautiful song from the british band Swingout Sister, written in 1989.

SKU: MQ.8944-E

English.

The first movement of Two Suffrage Songs is an adaptation of the spiritual, Jesus, won't you come by here? in which the singers call out for others to join the cause. A jaunty piano part in swing eighths supports. The choral writing is approachable and fun, despite the divisi into eight parts now and then.

SKU: A0.1259301

Key: Bb major.

Instrumental versiion of this fabulous tune.

SKU: AX.00-XS-0000010

ISBN 9780739068540. UPC: 038081386140.

This songbook contains more than 50 of the biggest hits of the 1940s. Each song is sure to spark a memory or create a new one for pianists and vocalists of all ages. For practice, performance, or pleasure, play and sing your way through your favorite decade in pop music history! Titles: The Anniversary Waltz (Vera Lynn) * As Time Goes By (Dooley Wilson) * At Last (Glenn Miller) * Ballerina (Vaughn Monroe) * Blues in the Night (Woody Herman) * Chattanooga Choo Choo (Glenn Miller) * Don't Fence Me In (Bing Crosby and The Andrews Sisters) * Don't Sit Under the Apple Tree (The Andrews Sisters) * Elmer's Tune (Glenn Miller) * Enjoy Yourself (Guy Lombardo) * Fools Rush In (Glenn Miller) * A Gal in Calico (Johnny Mercer) * How About You? (Tommy Dorsey) * How Are Things in Glocca Morra? (Buddy Clark) * How High the Moon (Benny Goodman) * I Fall in Love Too Easily (Frank Sinatra) * I'll Walk Alone (Dinah Shore) * I'm in Love (Doris Day) * Imagination (Glenn Miller) * It's Magic (Doris Day) * I've Heard That Song Before (Harry James) * La Vie en Rose (Edith Piaf) * Laura (Woody Herman) * Mam'selle (Art Lund) * The More I See You (Dick Haymes) * Near You (Francis Craig) * New York, New York (Gene Kelly, Frank Sinatra, & Jules Munshin) * Oh! What It Seemed to Be (Frank Sinatra) * The Old Lamp-Lighter (Sammy Kaye) * Only Forever (Bing Crosby) * Paper Doll (The Mills Brothers) * Powder Your Face with Sunshine (Guy Lombardo) * Red Roses for a Blue Lady (Vaughn Monroe) * Serenade in Blue (Glenn Miller) * Speak Low (Guy Lombardo) * Straighten Up and Fly Right (Nat King Cole) * Swinging on a Star (Bing Crosby) * Take the A Train (Duke Ellington) * Taking a Chance on Love (Benny Goodman) * That Lucky Old Sun (Frankie Laine) * Too-Ra-Loo-Ra-Loo-Ral (That's an Irish Lullaby) (Bing Crosby) * The Trolley Song (Judy Garland) * You'd Be So Nice to Come Home To (Dinah Shore) * You'll Never Know (Dick Haymes) * Zip-a-Dee-Doo-Dah (James Baskett).

SKU: A0.1437299

An arrangement of Pennsylvania 6-5000 for Clarintet Quintet. By Jerry Gray, Carl Sigma.

Pennsylvania 6-5000 (also written Pennsylvania Six-Five Thousand) is a 1940 swing jazz and pop standard recorded by Glenn Miller and His Orchestra as a Bluebird 78 rpm single. The music was by Jerry Gray and the lyrics by Carl Sigman.


Many big band musicians played in Hotel Pennsylvania's Cafe Rouge in New York City, including the Glenn Miller Orchestra.

The hotel's telephone number, Pennsylvania 6-5000, inspired the Glenn Miller 1940 Top 5 Billboard hit of the same name, which had a 12-week chart run.[2] The instrumental was recorded on April 28, 1940 at the RCA Victor Studios at 155 East 24th Street in New York City. The 78 single was released in June, 1940 as RCA Victor Bluebird 78 B-10754-A backed with Rug Cutter's Swing. The song was also an advertisement for attendance at the band's live performances, as a call could be put through to Hotel Pennsylvania’s venue the Cafe Rouge for a reservation.

Johnny Best played the improvised trumpet solo on the recording. The Carl Sigman lyrics were not used, only the refrain was shouted by the band after the ringing of the telephone.

Two different sheet music covers were released with different photos of Glenn Miller.


The song became a jazz and big band standard also recorded by the Andrews Sisters, Judy Garland and Martha Raye in a duet, the Brian Setzer Orchestra, Jimmy Mundy and His Orchestra (1959), Louise Gold, Kathy Miller, Martin Brushane Big Band, the Blue Moon Big Band (1999), in a 1976 Carol Burnett Show episode in a tribute to Glenn Miller, Syd Lawrence, Michael Maxwell and His Orchestra, Richard Hunt and Jerry Nelson (Bobby Benson and the Baby Band) in The Muppet Show (1979, Episode 319), Fud Candrix and His Orchestra, Jerry Gray, Mina, Lou Haskins, Jack Livingston, Raquel Rastenni (1941) in Copenhagen, Starlight Orchestra, Klaus Wunderlich, New 101 Strings Orchestra, Heptet, Meco, Tex Beneke, The Modernaires, Jack Million Band, Al Pierson Big Band, BBC Big Band Orchestra, SWR Big Band, and by Captain Cook und seine singenden Saxophone in 2012.

Fats Waller's arrangement of the song for piano was published in the UK songbook Francis & Day's Album of Fats Waller: Musical Rhythms in the 1940s.

SKU: A0.851811

An arrangement for string quartet/orchestra of ‘The Merry Christmas Polka’ by Paul Francis Webster and Sonny Burke. The song was made famous by The Andrews Sisters, a highly successful close harmony singing group of the swing and boogie-woogie eras. Throughout their long career, the sisters sold well over 75 million records. The PDF also contains a part for violin III  (doubling that of the viola) and double bass, enabling the arrangement to be played by a full string orchestra. Duration 2.10

SKU: A0.1237543

I offer an arrangement of Bach’s all-time favourite Jesus, Joy of Man’s Desiring in an African inspired rendering for solo classical or acoustic guitar. The arrangement uses lots of natural harmonics in an attempt to mimic the African kalimba style of music. The arrangement goes in 4/4 time in polyrhythm with a second tier of accents at 2, 2&, and 4 with a slight swing. The polyrhythm makes the final chord sound like an upbeat! The low bases are notated as quarter notes and should be played so that they do not ring out. They are not muted (staccato), except where notated, but they should be kept short to give the piece a bouncy character.


The arrangement contains the main melody and chorus sections of the original in G major, although I have changed the original in a number of ways. The first melody and chorus section in G major is prefaced by several bars of natural harmonics and is repeated only after the melody and chorus section in the key of A minor. Natural harmonics appear in many places in the piece interwoven with Bach’s original melody and chorus. I think the natural harmonics give the piece a really glorious ring. 

The present arrangement incorporates many sections of a sister arrangement of the piece that I published recently that follows the original more closely and works as an introduction to the music with extensive left and right hand fingerings and tablature for intermediate students of guitar. This arrangement, considering the many natural harmonics, staccatos, tempo, and swing, is perhaps better suited for advanced intermediate students of classical or acoustic guitar. With that in mind, I therefore refrain from any extensive left and right hand fingerings for the present arrangement. The piece is a real joy to play and listen to! 

The tempo for the present arrangement has been set to 140 bpm. I think the pace gives a real swing to the music. The piece may however be played at a faster tempo, e.g. Presto, or somewhere in between. With this great music you can hardly go wrong.

The title I have chosen for the arrangement aims to be a play on words as in many English speaking parts of the world the name Bach often rhymes with the word ‘back’ as in a return to some place or time. ‘Bach to Africa’ is then an allusion to humanity’s primordial roots in Africa. Rejoice!

SKU: A0.1271651

Treble-voice a cappella arrangement of Dance Me To The End Of Love, by Leonard Cohen.  SSAA, with S1 and S2 solos.  This arrangement begins with an unmeasured, medieval music-influenced statement of the opening 2 phrases sung by the whole the choir split into 2 parts.  The arrangement as a whole is lush, with lovely rhythmic variations, including a swing section inspired by Boswell sisters or other female vocal groups from the 1930's and 40's.  It is a bit of an epic treatment of this song, really builds nicely throughout, returning to the opening material at the end of the song.  Stunning.