Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.813957 Composed by German Folk Song. Arranged by Regis Bookshar. Christmas,Instructional,Multicultural,World. 8 pages. Regis Bookshar #6632171. Published by Regis Bookshar (A0.813957). Woodwind Quintet - Intermediate - Digital Download. This arrangement of O Christmas Tree, or in German, O Tannenbaum, would be a fabulous addition to any music library and could be performed for Christmas concerts and recitals, and, perhaps, even church services. It is equally suitable for junior and senior high school students and even older musicians. Depending on their ability, younger musicians would also enjoy playing this selection. Included are a score and a complete set of part (8 pages). This selection is one of the many arrangements from The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.O Christmas Tree is a German Christmas song based on a traditional folk song which was unrelated to Christmas. The custom of the Christmas tree developed in the course of the 19th century, and the song came to be seen as a Christmas carol. The modern lyrics were written in 1824 by the Leipzig organist, teacher and composer, Ernst Anschutz. A tannenbaum is a fir tree. The lyrics do not actually refer to Christmas or describe a decorated tree. Instead, they refer to the fir's evergreen quality as a symbol of constancy and faithfulness.In this arrangement of O Christmas Tree, Regis Bookshar has kept the basic outline of this familiar song, but has inserted a short interlude, which brings to mind the sound of alphorns, or alpenhorns, instruments which may be made from red pine, or fir trees. and are used by mountain dwellers in the Bavarian Alps. I think that students will enjoy this imitative section in the song. In addition to this version for a Woodwind Quintet, consisting of 1 Flute, 1 Oboe, 1 Clarinet, 1 French Horn and 1 Bassoon, there are also other arrangements of O Christmas Tree available for a variety of instrumental ensembles. Please take the time to look for other versions of this composition. You may find something else that might also suit your needs.I would also encourage you to search for other arrangements by Regis Bookshar, as well, as there are numerous arrangements in a wide variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are being added as often as possible. I'm certain that this wonderful arrangement of O Christmas Tree will continue to entertain both performers ands audiences alike for years to come.

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532733 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 22 pages. Musik Fabrik Music Publishing #1919. Published by Musik Fabrik Music Publishing (A0.532733). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532734 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 21 pages. Musik Fabrik Music Publishing #1917. Published by Musik Fabrik Music Publishing (A0.532734). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532735 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 24 pages. Musik Fabrik Music Publishing #1921. Published by Musik Fabrik Music Publishing (A0.532735). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532736 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 21 pages. Musik Fabrik Music Publishing #1923. Published by Musik Fabrik Music Publishing (A0.532736). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

String Quartet - Early Intermediate - Digital Download By Glee Cast. Arranged by Tainá Caldeira. Individual Part, Score. 9 pages. Published by Taina Caldeira

Choral Choir,Choral,SATB Chorus - Level 2 - Digital Download SKU: A0.1490010 Composed by Text: Eden Reeder Latta (1839 - 1915) Tune: Henry Southwick Perkins (1833 -1914. Arranged by Ken Litton. Christian,Lent,Religious,Sacred. 11 pages. Artist of Note, Inc. #1066874. Published by Artist of Note, Inc. (A0.1490010). Whiter Than the Snow/Eden Reeder Latta  - Henry Southwick Perkins BLESSED BE THE FOUNTAIN arr. Ken Litton (ASCAP)As an SBC music missionary active in Brazil I quickly discovered the hymns missionaries had taken with them as the work gained impetus from the 1890s when the Bagbys arrived to build on the foundation laid by early pioneers like Solomon Ginsburg. I found myself leading those hymns from the nearly 100 year old Cantor Cristão (Christian Singer) in the strongly attended evening services at the Igreja Batista Rio Doce (Sweet River Baptist Church) in Recife, with people literally leaning in through the windows from outside to sing along. Just a normal p.m. attendance or... curiosity about the missionary leading? No, certainly it was the message of the gospel in these great hymns and in the Brazilians’ creative work as well. I mainly remember holding that small print hymnal in one hand and leading with the other (shaking badly) and singing in Portuguese!From that kind of congregational participation I vividly remember the hymn Blessed be the Fountain by Eden Reeder Latta (1839 - 1915) and Henry Southwick Perkins (1833 -1914) with it’s energetic dotted eighth and sixteenth rhythm figures and text of confession based on Zechariah 13:1. That text was very important in the lives of disciples in Brazil and in my own heart. Here I have used only the verses of the text and tune, simply smoothing out the rhythm and adjusting the lyric to more modern usage (yet preserving the devotional pronouns Thee, Thy and Thine).The tune BLESSED BE THE FOUNTAIN is altered in rhythm, tempo and one descending interval from the original.  The arrangement is by me, having built the intro, interlude and key change as well as the ending from the material that constituted the refrain in the origina. As a bridge and additional textual/musical impulse into the key change and final verse I’ve interpolated the refrain from the well-known gospel hymn Whiter than Snow (FISCHER) by James Nicholson and William G. Fischer.The voices include a wide variety of unison, two-part and four-part passages that are well within the capability of the average church choir. The accompaniment difficulty level is about as minimal as it can be I hope, while still reflecting support for the voices, a measure of variety as well as some real independence.I certainly think choirs of some ability and their dedicated accompanists will enjoyWhiter Than the Snow as much as I have in developing it.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.747292 By Aaron Shust. By Aaron Shust, Andrew Pruis, and Matthew West. Arranged by Christopher R. Brown. Contemporary. Octavo. 7 pages. Christopher Brown #5324397. Published by Christopher Brown (A0.747292). This anthem is arranged for tenor soloist, SATB choir, piano & optional worship band (rhythm chart). The lyrics direct us to be assured of what we know is true according to the Word of God during times of uncertainty, anxiety, and doubt. Lyrics below.This is the vocal part for the arrangement which includes the soloist and choral parts. The piano accompaniment and rhythm chart is available separately on SheetMusicPlus.Please Note:Performance of this music requires one copy of the vocal score purchased for each singer.Lyrics:When I'm surrounded by uncertaintyAnd my fear tries to steal controlThere's one thing that is no mysteryJesus loves me this I knowWhen I'm flooded with anxietyWaves of doubt won't drown my soulThere's a peace that rests inside of meJesus loves me this I knowPraise the One Who walks beside me throughMountain high and valley lowMy hope is found in this forever TruthJesus loves me this I knowJesus loves me this I knowWhen my sin says I'm unreachablePast the point where grace can goWhen I feel anything but loveableJesus loves me this I knowPraise the One Who walks beside me throughMountain high and valley lowMy hope is found in this forever TruthJesus loves me this I knowJesus loves me this I knowOn Christ the Solid Rock I standAll other ground is sinking sandMy Saving Grace My only hopeMy Jesus loves me this I knowOn Christ the Solid Rock I standAll other ground is sinking sandMy Saving Grace My only hopeMy Jesus loves me this I knowPraise the One Who walks beside me throughMountain high and valley lowMy hope is found in this forever TruthJesus loves me this I knowJesus loves me this I knowPraise the One Who walks beside me throughMountain high and valley lowMy hope is found in this forever TruthJesus loves me this I knowJesus loves me this I knowJesus loves me this I knowOn Christ the Solid Rock I standAll other ground is sinking sandMy Saving Grace My only hopeMy Jesus loves me this I know

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1025435 Composed by Samuel Warren Hatch. 20th Century,Contemporary,Jazz. Score. 9 pages. Samuel Warren Hatch #4764165. Published by Samuel Warren Hatch (A0.1025435). Piano Sonata No. 1 in E Major is the first series of concert piano works by S. Warren Hatch, written during his undergraduate study at Campbell University. Each movement is distinct, in that each of them is composed in a different form, utilizes different key changes and scales, and takes influence from a different period in classical music. While there is no theme that connects them to one another, they are all in the key of E Major and consist mostly of a waltz-like feeling. III. A Reflection of Passing depicts the shifting aspects about death as a person matures. It’s a piece that came from a time of great loss and much grieving. It begins with an innocent, hopeful understanding of death, followed by a major tone shift, where there is an odd utilization of the piano: the performer sings into the piano while holding down the sustain pedal, which vibrates certain overtones, producing what sounds like a distant choir. The piece closes with a triumphant, hopeful melody, borrowed from a song written by S. Warren Hatch when he was in high school.Composer Notes- Be sure to ensure that the stage hands lift the piano lid before the sonata’s start, as the strings will need to be exposed in order for you to sing into the piano’s body during A Reflection of Passing. For that section (page 22) you will need to face and sing directly into the strings while holding down the sustain pedal for the entire page. If you are playing with the sheet music (don’t worry, I’m not shaming you) simply slide the music holder in order to expose the part of the strings that are closest to you. For this sonata, I encourage you to find your own voice in these pieces. Your own interpretation should align with how you most relate to the message/story they’re telling. This could be using the una corda (leftmost) pedal during lighter sections to further differentiate them, or having a heavier rubato to strengthen the impact of certain phrases. As long as you bring these pieces to life, then it has my stamp of approval.

High Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.962899 Composed by Sonny Rios. Concert,Contemporary,Holiday,Love,Wedding. 4 pages. Sonny Rios #3924883. Published by Sonny Rios (A0.962899). BECAUSE OF YOU: This love-song, in the classical crossover genre, was written and composed by Sonny Rios for solo High Voice. It is in English and has a range of C4-Bb5. The song is suited for concert usage or UIL competitions. The song has been registered with the US Copyright Office and ASCAP. This song may be obtained in a fully orchestrated accompaniment CD with and without English lead vocals by emailing: tenor@sonnyrios.com. And if you wish to record this song, you may obtain a license by emailing tenor@sonnyrios.com.

Choral Choir (Mixed) - Level 2 - Digital Download SKU: A0.611389 Composed by Stephen DeCesare. Broadway,Children,Musical/Show,Pop,Rock. Octavo. 107 pages. Exultet Music #10555. Published by Exultet Music (A0.611389). A modern-day musical parody of Sleeping Beauty of a pop singer who is cursed by the evil Queen Hepzibah by pricking her finger on the needle of a record player. Performance rights are obtained through: mtapublishing.com  The libretto is NOT included. If you wish to obtain the rights and script for this show, please visit: mtapublishing.com in which there is also available a full accompaniment track version of the show to perform.Video Review:  https://www.youtube.com/watch?v=7zw0sp0DUxI

Piano,Vocal,Voice - Digital Download SKU: A0.962943 Composed by Robert Lowry. Arranged by Sonny Rios. Christian,Concert,Praise & Worship,Sacred. Score. 6 pages. Sonny Rios #4360661. Published by Sonny Rios (A0.962943). I NEED THEE EVERY HOUR: This public domain song that was written and composed by Annie S. Hawks and Robert Lowry, respectively, has been beautifully arranged by Sonny Rios for Medium High Voice, if sung as a solo, or High Voice, if sung by a duet. The song has a range of D4-F5 for solo and D4-A5 for duet. The song may be sung in religious services and concerts. This arrangement has been registered with the US Copyright Office and ASCAP. The piano accompaniment may be obtained, with or without lead example, by emailing: tenor@sonnyrios.com. If you wish to record this arrangement, please obtain a license by emailing: tenor@sonnyrios.com.

Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.962892 Composed by Sonny Rios. Celtic,Contemporary,Opera. 7 pages. Sonny Rios #3916699. Published by Sonny Rios (A0.962892). YOU’VE COME INTO MY WORLD: A Celtic love-song in the classical crossover genre by Sonny Rios for solo high voice. The song is in English and has a range of D4-B5. The song has been registered with the US Copyright Office and ASCAP. The song may be obtained in a fully orchestrated accompaniment CD with and without lead English vocals by emailing: tenor@sonnyrios.com. And if you wish to record the song, please obtain a license by emailing: tenor@sonnyrios.com.  

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.962898 Composed by Sonny Rios. Concert,Contemporary,Holiday,Love,Opera,Wedding. Score. 12 pages. Sonny Rios #3924881. Published by Sonny Rios (A0.962898). I’LL DREAM ON: Dreamer say dreams come true. Well, I’m a dreamer, too. says Sonny Rios in his song about seeking love. The song is for solo High Voice and has English, Italian and Spanish lyrics (you choose the language you want to sing it in). It’s in the classical crossover genre and has a range of Bb3-G#5. The song has been registered with the US Copyright Office and ASCAP. The song may be obtained in a fully orchestrated accompaniment CD with and without English lead vocals by emailing: tenor@sonnyrios.com. And if you wish to record it, please obtain a license by emailing: tenor@sonnyrios.com.