Concert Band - Digital Download

SKU: A0.1030824

Composed by Neal Endicott. Contemporary. Score and parts. 35 pages. Neal Endicott Music #1249. Published by Neal Endicott Music (A0.1030824).

This piece was originally titled Istn’t it Enough, drawing inspiration from the famous passage from The Hitchhiker’s Guide to the Galaxy. I changed the wording slightly to be more encompassing of different modes of perception (thought is a broader concept than sight and the word think created better melodic material than the word see, using the method described below) I provided an alternate title to more clearly convey the meaning behind the piece. That is; that the only church that I will ever need is the one I find in musical expression and in the beauty of the natural world. Though Adams’ meaning was meant to convey the primary reasoning for his atheism-a reason that I use as well-I also see it as an admonishment of our need for constant stimulation. Adams felt-and I feel-that people need to take the time to slow down and enjoy life: we need to enjoy the beauty of the garden (both literally and metaphorically). That, quite simply, is what this piece is (or at least what it is to me). Among the compositional techniques that I used in this piece is one that I have been using quite a lot. I call it crypto-serialism. The basic concept is that I will take a piece of text (the Douglas Adams quote, in this case) and convert each letter to a number between 0 and 11 and then convert those numbers to musical pitches, where 0 = C, 1 = C#, etc. The technique offers me a way to draw actual musical ideas from the text itself, which I see as a means of creating a deeper connection to the text. The piece is dedicated to the Four Horsemen of the Non-Apocolypse: Richard Dawkins, Christopher Hitchens, Sam Harris, and Daniel Dennett.

Piano Solo - Level 4 - Digital Download

SKU: A0.1082546

Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz. Score. 38 pages. Thomas Oboe Lee #686739. Published by Thomas Oboe Lee (A0.1082546).

Chick Corea died at the age of 69 on February 9, 2021. I have been a huge fan of his music and piano playing since I heard the album Now He Sings, Now He Sobs (1968). Assisted by Miroslav Vitous and Roy Haynes, Chick was in absolutely rare form on that seminal recording!!! As a tribute to him and a in memoriam to his musicianship, I wrote these movements for solo piano inspired by his compositions in the album Children's Songs (1984). Corea's Children's Songs is a suite of twenty solo piano pieces, each lasting between 1 to 2 minutes. These are truly little gems of composition in miniature, like the Chopin Preludes. But every time I hear them I always felt that these nice little pieces, at least to my ears, always came up short. A lot of them seem to end in mid-air. In my humble opinion, they needed development. But that is of course coming from the mouth of a classical composer, me. LOL!!! Nevertheless, in this tribute, I have taken some ideas from the original Corea songs and reinvented them in my own fashion. You will detect a thing or two from Chick, but mostly it's TOL music. Since my songs get development, the entire suite consists of ten movements, rather than Corea's twenty. Enjoy!!! Children's Song No. 1 ... Moderato Children's Song No. 2 ... Allegretto Children's Song No. 3 ... Adagio Children's Song No. 4 ... Moderato TRIO Children's Song No. 5 ... Allegro Children's Song No. 6 ... Moderato TRIO Children's Song No. 7 ... Presto TRIO Children's Song No. 8 ... Moderato Children's Song No. 9 ... Molto Allegro TRIO Children's Song No. 10 ... Largo.

Piano,Violin - Level 5 - Digital Download

SKU: A0.834107

Composed by Claude Debussy (1862-1918). Arranged by BRIAN W. COPPING. 20th Century,Concert,Standards. 8 pages. EMK Music #6559979. Published by EMK Music (A0.834107).

Great for exams and Eisteddfods, Le Petit Negre is taken from Debussy’s ‘Children’s Corner’ , a collection of pieces for Piano that he dedicated to his daughter, Claude-Emma, after her death at the age of fourteen.  Debussy used language that was in common usage at the time, but some of his titles, including this one, now sound unavoidably racist.    In addition to syncopation, Debussy also uses other techniques in this piece that have been adopted by jazz musicians, for example, pentatonic scales and chromaticism.

3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Bck.) - Hfe. - Str.
Auf der Bühne: Engl. Hr. · 6 Hr. · 3 Trp. · 3 Pos. - Digital Download

SKU: S9.Q17773

Handlung in drei Aufzügen. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 270' 0. Schott Music - Digital #Q17773. Published by Schott Music - Digital (S9.Q17773).

German.

An important addition to the newly produced orchestral materials by Schott Music is the fi rst publication of vocal scores of Richard Wagner’s ten great operas in every important version. For the first time, we are able to offer theatres and interested opera-lovers vocal scores as urtext editions conceived following uniform editorial criteria: * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. * The publisher has secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages (German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. TRISTAN UND ISOLDE Performance directions by the singer Ludwig Schnorr von Carolsfeld are incorporated in the vocal score from the Complete Edition’s Tristan und Isolde volume. He entered these directions into his own copy of the Tristan part which he used at the 1865 Munich premiere. Richard Wagner was deeply impressed by his interpretation of the title role. For the first time in a vocal score of Tristan und Isolde all cuts are incorporated—with the corresponding transitional bars—which Wagner himself made, and approved, in two cases, were actually declared by him to be final. These cuts strikingly document Wagner’s struggle with the final form of the work. For the first time in a single edition all of Wagner’s own suggestions for ossias are found; ossias which evolved from performances under his own direction. Egon Voss writes about this in his foreword to the vocal score: “Such ‘pointers’, as you might say, were current practice in the 19th century which Wagner, as the example shows, did not evade. He was enough of a practical man of the theatre to know that a badly sung top note is worse than doing without it. Wagner even tolerated the transposition of lengthier passages because he was less concerned with the letter of the score than with theatrical effectiveness. [...] The present vocal score goes beyond the Complete Edition [...] in that the ossias mentioned above are indicated in the vocal part itself, in small notes. They concern principally the role of Tristan, but also those of Isolde, Brangäne and Kurwenal. They rest in part on the Tristan edition within the Complete Edition but for the greater part go back to a source which could not be consulted for the Complete Edition because it was not yet accessible. This relates to a vocal score from the estate of the composer Peter Cornelius who was engaged by Wagner as repetiteur at the Vienna rehearsals in 1861-63. That the ossia bars go back to Wagner can be taken as certain, since in some places they are notated in his own hand.� (Egon Voss, quoted from the foreword to the vocal score) The transpositions mentioned by Egon Voss—two by Hans von Bülow for the revival of the work which he conducted in Munich in 1869 and the third suggested by Wagner himself in 1861—are printed in the appendix to the vocal score. The ossias, transpositions, and cuts are available for practical use in the theatre and in rehearsal. The cuts are also incorporated into the orchestral materials for Tristan und Isolde. This is also the case with ossias which affect the orchestral parts.

2013 marks Wagner’s bicentenary, making the year largely focused on his music, particularly the dramatic works. An important addition to the newly produced orchestral materials by Schott Music. The score corresponds to the performance materials from the Complete Edition. Schott Music have secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. For the first time, this work is available to theatres and interested opera-lovers as urtext editions. For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. The forewords are given in three languages (German, English, and French). Other vocal scores available: Der fliegende Holländer (1841) Der fliegende Holländer (1842-80) Tannhäuser Lohengrin Das Rheingold Die Walküre Siegfried Götterdämmerung Die Meistersinger von Nürnberg Parsifal.

Guitar quartet - Digital Download

SKU: ZZ.DZ-4322

Composed by Fernando Sor. Arranged by Eddie Healy. Score and parts. 49 pages. Les Productions d'OZ - Digital #DZ 4322. Published by Les Productions d'OZ - Digital (ZZ.DZ-4322).

When I undertook my arranging project, Fernando Sor: Beneath the Surface, I had not yet conceived of another. Yet, Sor’s works are so charming and rich that I felt compelled to delve deeper. Again, I have taken a number of his works for solo guitar and expanded them here. This has enabled me to furnish each voice, those composed by Sor and those I’ve added, with a degree of independence that enables them to simultaneously behave independently of the others and to interact with and react to them more freely.
I hope that this will inspire guitar students and more seasoned players alike to examine the structural underpinnings of his works when crafting their interpretations much as I have in producing these arrangements.

Lorsque j’ai entrepris mon projet d’arrangement, Fernando Sor : Beneath the Surface, je n’avais pas encore imaginé d’autre projet. Pourtant, les œuvres de Sor sont si charmantes et riches que je me suis senti obligé d’aller plus en profondeur. Là encore, j’ai repris un certain nombre de ses œuvres pour guitare seule et les ai développées ici. Cela m’a permis de doter chaque voix, celles composées par Sor et celles que j’ai ajoutées, d’un degré d’indépendance qui leur permet de se comporter simultanément indépendamment des autres et d’interagir et de réagir plus librement avec elles.
J’espère que cela inspirera les étudiants en guitare et les guitaristes plus expérimentés à examiner les fondements structurels de ses œuvres lors de l’élaboration de leurs interprétations, tout comme je l’ai fait pour produire ces arrangements.

1. Minuet, Op. 11, No. 5
2. Etude, Op. 35, No. 2
3. Etude, Op. 44, No. 16
4. Etude, Op. 35, No. 14
5. Leçon III, Op. 31.

Large Ensemble,Mixed Percussion,Strings Bass Voice,Body Percussion,Celesta,Cello,Clarinet,Cymbals,Double Bass,Drum Set,Drums,Electric Bass Guitar,Flute,Hand Percussion,Harp,Horn,Medium Voice,Medium-High Voice,Medium-Low Voice,Oboe,Piccolo,Recorder,Suspended Cymbal,Synthesizer,Trombone,Trumpet,Tuba,Viola - Digital Download

SKU: A0.1143891

By Cimorelli. By Amy Cimorelli, Christina Cimorelli, Katherine Cimorelli, Lauren Cimorelli, and Lisa Cimorelli. Broadway,Classical,Contest,Disco,Festival,Musical/Show,Opera. Score and parts. 9 pages. Amphibia Cultural Legacy #744199. Published by Amphibia Cultural Legacy (A0.1143891).

The remixing of Cimorelli's I Am Enough cover with additional instruments from Disney's Rainbow Magic has resulted in a truly dramatic and epic musical masterpiece. The original track was already powerful in its own right, but adding new elements has taken it to a whole new level. The instrumentation perfectly complements the emotional lyrics, adding even more depth and intensity to an already moving song.

From the opening notes, it is clear that this is no ordinary track. The sweeping strings and booming percussion create an immediate sense of grandeur, setting the stage for what will come. As the vocals begin, they are imbued with a newfound power and gravitas that was not present in the original version. Each note carries weight and meaning, resonating with listeners deeply emotionally.

As the song progresses, it builds to a crescendo that is nothing short of breathtaking.

Flute Solo - Level 3 - Digital Download

SKU: A0.842567

Composed by Vairous. Arranged by Barbara Brennan. Concert,Instructional,Romantic Period,Standards. Individual part. 28 pages. Bl_music #6169411. Published by bl_music (A0.842567).

12 Solo Quadrilles for Flute

Following quite a few requests to offer our Quadrilles for Flute, this edition is not just a transposed version of the Bass Quadrilles but especially set for Flute, including pieces which are not available in the recorder edition.

Originally written for small orchestras or piano, our arrangements for solo flute work so well that it is hard to believe that the pieces weren’t written for the flute in the first place.

Quadrilles were fashionable dances of the late 18th to19th Centuries, performed by four couples in a rectangular formation. They consist of four to six movements (or contredanses, courtly versions of English country dances that had been taken up at the court of Louis XIV and spread across Europe.) and became a craze during the 19th century.

Though hundreds of quadrille sets were composed in the 19th , the names of the five parts (or figures) remained the same, as did the steps and the figures themselves:

Le Pantalon , L’été , La Poule , (Trénis ), La Pastourelle , Finale

 

This collection includes:

·         Learning to Dance

         The Rats

·       Wide Awake

·        Melbourne

·        Polly

·        Osborne

·        Lancers’ Quadrille

·        Heather Flowers

·        The Burton Troup

·        Les Girards

·        Palermo

·        Caledonian

Flute Collection is the new range of solos, duos and ensemble pieces published by Brennan&Lützeler.

String quartet - difficult - Digital Download

SKU: S9.Q778767

String Quartet No. 6. Composed by Joerg Widmann. Downloadable, Score and parts. Duration 27 minutes. Schott Music - Digital #Q778767. Published by Schott Music - Digital (S9.Q778767).

My quartets composed between 1997 and 2005 were conceived as an interconnected, self-contained cycle of works ranging from the (in my opinion) quasi revolutionary Quartet No. 1 to the Quartet No. 5 entitled Versuch über die Fuge [Attempt at a Fugue]. The Quartet No. 6 – Study on Beethoven – composed fourteen years after No. 5 should be conceived as a new approach and the commencement of a new quartet cycle with an unknown ending. All that can be said is that the subsequent quartets will be devoted to an intense study of Ludwig van Beethoven’s unique and consummate artistry of quartet composition. Despite a reverence for Beethoven at a very early stage, my own compositions have steered well clear of this unapproachable cosmos with the exception of my concert overture Con brio. The perhaps only link with the five quartets of the first cycle of quartets is the single-movement structure of the thirty-minute Quartet No. 6. The fundamental coordinates have otherwise been reset to zero. This is therefore also a ‘study’ in a literal sense. In the Quartet No. 6, I set out with a state of tonality displaying significant extensions whose centrifugal forces are barely containable. My focus is the detection of the inherent gravitation of tonality, including phenomenons such as tension/relaxation, suspension/resolution and fixation/deviation. From a formal aspect, the work is too experimental and unsentimental for explorations in a nostalgic-romantic sense. On the contrary, tonality or at least its fundamental assumptions are initially set down in the sense of a study or test assembly in order to permit subsequent experimentation, variation and the formulation of exceptions with the desire and firm conviction that it is possible to express something innovative and never previously heard with this seemingly exhausted fundamental material. I have been repeatedly astonished by the unfolding in the progression of this piece which has taken me to unknown locations, especially from a formal aspect. I am fascinated to see what forms the subsequent quartets in this ‘Beethoven study’ cycle will lead me to. The Quartet No. 6 has been created in close artistic and friendly cooperation with Anne-Sophie Mutter and she is the dedicatee of this work. Jörg Widmann, July 2019

My quartets composed between 1997 and 2005 were conceived as an interconnected, self-contained cycle of works. The Quartet No. 6 composed fourteen years after No. 5 now opens a new cycle of quartets which will be devoted to an intense study of Ludwig van Beethoven’s unique and consummate artistry of quartet composition. Perhaps the only link with the five quartets of the first cycle is the single-movement structure of the almost thirty- minute Quartet No. 6. I am fascinated to see what forms the subsequent quartets in this ‘Beethoven study’ cycle will lead me to. Jörg Widmann.

Full Orchestra - Level 5 - Digital Download

SKU: A0.1359676

Composed by George Gershwin. Arranged by Arianna Cunningham, Darren Rodney. Classical,Film/TV,Historic,Jazz,Standards. 206 pages. Arianna Cunningham #944147. Published by Arianna Cunningham (A0.1359676).

As many of you know, Rhapsody in Blue is one of George Gershwin's most famous and iconic pieces of music history, if not, of all time! But in case you guys don't know, there are actually 3 different versions of the same piece Gershwin wrote.
These 3 versions include: The original Jazz Band 1924 version, 1927 version, and the most iconic well-known full symphony orchestra 1942 version that everyone plays nowadays. Not only that, but in the 1942 version, the extended part of the Shuffle Theme, as well as the extended Piano Cadenzas have been cut for duration time.

So, in honor of Gershwin's Legacy, I've put together a special arrangement written for a full orchestra, and it even includes tons of heavy influences taken mostly from the 1924 version, even taking influences from different live performances that are inspired.
These changes include the following:
Adding back in the extended shuffle theme and Piano Cadenzas
Added a Harp Part to make the arrangement a little Phil Spitalny Hour Of Charm-esque flavor to it.
Brought back in the Bari Sax and Orchestral Piano parts, even though they sort of look different from the original score.
Swapped a few solo/soli sections here and there while still keeping some of the 1924/42 elements (for instance the 2 Violin Soli, or Low Instruments Soli) in tact.

You obviously get the idea.

A huge thanks to one of my newest and closest friends who also have arranging experiences Darren Rodney for helping me put this incredible arrangement together!

Recorder Solo - Level 3 - Digital Download

SKU: A0.842530

Composed by Various (Collection). Arranged by B. Brennan. Classical,Instructional,Romantic Period,Standards. Individual part. 32 pages. Bl_music #5289971. Published by bl_music (A0.842530).

12 Solo Quadrilles for Great Bass Recorder

Originally written for small orchestras or piano, our arrangements for solo Great Bass recorder work so well that it is hard to believe that  the pieces weren’t written for the recorder in the first place.

This edition of stunning, not too difficult, but fun solos is the ideal companion or addition to the 25 Progressive Studies for Great Bass Recorder and a great album of show-stoppers for professionals and students alike.

Quadrilles were fashionable dances of the late 18th to19th Centuries, performed by four couples in a rectangular formation. They consist of four to six movements (or contredanses, courtly versions of English country dances that had been taken up at the court of Louis XIV and spread across Europe.) and became a craze during the 19th century.

Though hundreds of quadrille sets were composed in the 19th , the names of the five parts (or figures) remained the same, as did the steps and the figures themselves:

Le Pantalon , L’été , La Poule , (Trénis ), La Pastourelle , Finale

 

This collection includes:

·        The Rats

·        Learning to Dance

·        Wide Awake

·        Melbourne

·        Polly

·        Osborne

·        Lancers’ Quadrille

·        Chevalresque

·        Fireman

·        Les Girards

·        Palermo

·        Caledonian