String Orchestra - Level 2 - Digital Download SKU: A0.929120 Composed by Franz von Suppe. Arranged by Bob Mathews. Holiday,Instructional,Patriotic,Romantic Period,Standards. Score and parts. 17 pages. Bob Mathews #3132763. Published by Bob Mathews (A0.929120). This arrangement has melody or harmony for each instrument.  The sections of your group will love taking turns with the melody.

Small Ensemble Cello,Drums - Level 3 - Digital Download SKU: A0.910590 Composed by Folk Song. Arranged by Raúl Andueza Blanco. Folk,World. Score and parts. 9 pages. Raul Andueza #6113061. Published by Raul Andueza (A0.910590). Easy arrangement for 4 cellos and percussion. One of the voices plays in ponticello so it creates a folk atmosphere.

Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1342184 Composed by Soji Ojeniyi. 21st Century,Broadway,Christmas,Musical/Show,Traditional,Wedding. 4 pages. Tinglescroll Publishers #927706. Published by Tinglescroll Publishers (A0.1342184). Marry the Ghost! is from Star of Wonder the musical theatre set in a fictional African kingdom. All four parts (SATB) are exciting. They help compound the protagonist's puzzle in her sleep, yet create a vibrant atmosphere to amuse the audience.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.794108 By Barry Manilow. By Bert Kalmar and Harry Ruby. Arranged by Dave Gingras and John E. Dosher. Contemporary,Rock. Score. 3 pages. DAVID LEE GINGRAS #6358561. Published by DAVID LEE GINGRAS (A0.794108). A contemporary arrangement of this classic tune with words and music by Arthur Herzog, Jr. and Billie Holiday. This version features a root-based chord blocking method that John and I have used in a number of our arrangements. We added a few left and righ-hand fills for interest in the long passages with no chord changes. We hope you like it!

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1288894 By Andy Kirk & His 12 Clouds Of Joy. By Alberta Nichols, L.E. Freeman, Mann Holiner, Sammy Cahn, and Saul Chaplin. Arranged by Dave Gingras and John E. Dosher. Broadway,Film/TV,Jazz,Musical/Show. Score. 3 pages. DAVID LEE GINGRAS #879734. Published by DAVID LEE GINGRAS (A0.1288894). In 1931, Alberta Nichols wrote the music and Mann Holiner wrote the words for a song titled Till the Real Thing Comes Along which was featured in a Broadway revue titled Rhapsody in Black. The review, produced by Lew Leslie, was similar to the famous Blackbirds reviews of the late 1920s and 1930s, and featured Ethel Waters, who introduced Till the Real Thing Comes Along. This version features a root-based chord blocking that John and I have used in a number of our arrangements and was developed from the 1936 sheet music. We also added some pretty cool left-hand fills to keep things moving along smoothly. We hope you like what we've done with this grand old tune!

Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.933737 Composed by Jeffrey Cottrell. 20th Century,Jazz. Score and parts. 64 pages. Jeffrey Cottrell #5955057. Published by Jeffrey Cottrell (A0.933737). A rocking funk chart for full jazz band. The inspiration for the title come from the story of a very tough duck who was king of the pond, until the Dark One arrived to challenge him for dominance. This tune describes that epic battle.This has been performed by high school and college jazz ensembles and was always a favorite with the students. Challenging in spots but overall not hard. Written piano solo at the start, with improv solos for others in the solo section later on.

Handbells 3-6 octave handbells with optional tambourine - Level 2 - Digital Download SKU: H1.2549DP Arranged by Martha Lynn Thompson. Easter Sunday, General Worship. Handbell score. 11 pages. Hope Publishing - Digital #2549DP. Published by Hope Publishing - Digital (H1.2549DP). 1 Tiomothy 6:15 - Isaiah 9:6 - Revelation 17:14 - Revelation 19:16.Ancient Hebrew melody This lively, fun to ring setting from Martha Lynn Thompson is based on an ancient Hebrew melody. Full of variety, verses 1 and 3 feature bass bells malleted on the table with the treble bells ringing the melody; in verse 2 the bass bells ring the melody while the treble bells have a malleted descant. To this, 4, 5 & 6 octave choirs add a lower malleted bass line. The optional tambourine part (included and reproducible) adds a further embellishment to this versatile, efficient (1:40 min. ) arrangement suitable for worship, concerts, or school occasions.

Acoustic Guitar,Alto Flute,Cello,Horn,Tenor Saxophone,Trombone,Violin - Level 3 - Digital Download SKU: A0.1368317 By Kansas. By Kerry Livgren. Arranged by Jon Thingvall. Pop,Rock. 45 pages. Jon Thingvall #952661. Published by Jon Thingvall (A0.1368317). Seeking a modern setting for a French Horn solo?  Is the community--or are the students--feeling that classical music is stuffy?  Got a budding Guitar Hero with nowhere to play?  Want to give the orchestra a break, without stopping the program completely?  Need a relaxed, quasi-Adagio for the concert's pacing?This is a record-copy of KANSAS' classic rock ballad, scored for a fairly small ensemble.  Most instruments can be substituted:  Flute for Alto Flute, Viola or Cello for Violin, Flugelhorn for the Horn part, or 4 Trombone parts instead of 3 with Solo Horn.Acoustic Guitar (will need amp).  (Part copied verbatim from the official video, with thanks to Kansas - Dust In The Wind Guitar Lesson Pt.1 - Intro & Verse (youtube.com))French Horn solo--  Steve Walsh's epic, almost-apocalyptic style seemed perfectly suited to the mystique of the French Horn.  (Measure 102 is “as though spoken� like in the recording here:  https://youtu.be/tH2w6Oxx0kQ?t=126.  If the audience isn't familiar with Steve's style, it may be better left as a quarter- or eighth-note (written F sharp), but if you've got a Hornist with the chops, I’ve tried to put the articulations in to imitate a spoken voice.)3 Trombones-- Mainly triadic pads, with two instances of 9ths in the upper bass clef.1 Tenor Sax / Double on Alto Flute  The Sax will sound great sotto voce to the Horn.  The Flute should be as soft as possible, and ethereal.Solo Violin  (Could be sectional, instead of solo.)Solo Cello  (Ibid.)The official video has bongos at the end, but I felt the sparse score worked well.  They could easily be improvised, if needed.

Guitar - Level 2 - Digital Download SKU: A0.797705 Composed by Howard Blake. Arranged by Derek Hasted. 20th Century,Film/TV. 17 pages. Derek Hasted #3676693. Published by Derek Hasted (A0.797705). WALKING IN THE AIR (The Snowman) - 4 GUITARS/LARGE ENSEMBLE For Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This charming piece from the film The Snowman is a family favorite for all ages! This is a very straightforward and accessible arrangement that would suit a mixed-ability ensemble with limited experience. It makes it ideal for a school concert but also as a well-known piece in a Christmas charity concert.All the arpeggios are based on well-known guitar shapes and the piece locks tightly together, whether played on four guitars or in a large ensemble.It's written without repeats or page turns so it's robust in performance. It's been a firm favorite in concerts that I've put on!I hope you enjoy playing this piece!

Piano Solo - Level 2 - Digital Download SKU: A0.918296 Arranged by Brenda Dillon. Sacred. Score. 3 pages. Dillon's Music Group #6221673. Published by Dillon's Music Group (A0.918296). I Need Thee Every Hour was written by Annie Sherwood Hawks. After her husband died, she reflected on the power of this hymn: I did not understand at first why it had touched the great throbbing heart of humanity. It was not until long after, when the shadow fell over my way, the shadow of a great less, that I understood something of the comforting power in the words which I had been permitted to give out to others in my hour of sweet serenity and peace.About the composer: Brenda Dillon is best known for her contributions to the Recreational Music Making movement. In addition to her contributions to the RMM Track for MTNA's Pedagogy Saturday, she also presented group piano and RMM sessions throughout the U.S. As well as serving as a teacher trainer, she has written extensive articles on both group piano and RMM teaching. She has publications with Hal Leonard and Alfred Music listed on her website. (www.brendadillon.com).

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.987271 Composed by Tenaj and Ropatt. Film/TV,Pop. Score. 9 pages. Twintastic Music #38479. Published by Twintastic Music (A0.987271). Tenaj and Ropatt co wrote this solid Pop, R&B, Hip Hop Ballad about a woman warning her unfaithful lover to be careful in picking his poison or he might end up getting burned by the other woman. If you enjoy the music of Beyonce, Rihanna and Keyshia Cole, then you'll enjoy playing this on the piano or guitar.

String Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renaissance,Standards. 45 pages. Jmsgu3 #3479835. Published by jmsgu3 (A0.549267). A musical monument: the first composition to employ dynamics. Minimum instrumentation: 11 cellos.   Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Brass Band Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Festival,Historic,Instructional,Renaissance. Score and Parts. 45 pages. Jmsgu3 #816951. Published by jmsgu3 (A0.1220622). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 Trumpets, 2 Alto Trombones, 3 Tenor Trombones, 1 Bass Trombone, and 1 Tuba. Suggested instrumentation: 8 trumpets, 4 Alto Trombones, 6 Tenor Trombones, 2 Bass Trombones, 4 Tubas.InnovationsFirst of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which he calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.