Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.1262572 By Claire Jones The Claire Jones String Ensemble. By Craig Armstrong, Desree Weekes, Marius Devries, Nellee Hooper, and Tim Atack. Arranged by Mav Duo. Broadway,Classical,Musical/Show. Score and individual part. 2 pages. Musicial #855589. Published by Musicial (A0.1262572). Introducing a Melodic Masterpiece: The Enchanting Cello and Piano Arrangement of Balcony Scene from Craig Armstrong's Romeo and Juliet FilmAre you a true connoisseur of musical beauty? A lover of timeless melodies that whisk you away to ethereal realms of emotion? If so, we have a mesmerizing treasure in store for you – an exquisitely simple cello and piano arrangement of the enchanting Balcony Scene from Craig Armstrong's unforgettable score for the iconic Romeo and Juliet film.Immerse yourself in the tender love story of Shakespeare's star-crossed lovers like never before, as the hauntingly delicate strains of the cello entwine with the elegant piano harmonies, transporting you to the very heart of Verona. This exceptional arrangement, designed to be accessible to musicians of all levels, captures the essence of the film's most poignant and passionate moments, painting a musical tableau of love, longing, and the thrill of forbidden romance.Crafted by acclaimed musicians and meticulously transcribed with utmost care, this arrangement is a true testament to the power of music to evoke profound emotions. The simplicity of the arrangement ensures that even beginners can embrace the beauty of Balcony Scene and bring it to life through their own musical journey. It provides an ideal opportunity for aspiring musicians to develop their skills and for seasoned performers to showcase their interpretation.The velvety timbre of the cello, resonating with warmth and depth, dances gracefully with the piano's gentle touch, creating an enchanting synergy that will captivate your senses. Regardless of your skill level, this arrangement allows you to explore the depths of your musical expression and connect with the soul-stirring emotions that lie within Balcony Scene.Whether you're a beginner seeking a captivating piece to embark on your musical journey, an intermediate player looking for an enjoyable challenge, or an advanced musician seeking an elegant addition to your repertoire, this cello and piano arrangement is an absolute must-have. Its simplicity allows for personal interpretation and adaptability, ensuring that musicians of all levels can revel in the joy of playing this beautiful composition.Indulge in the richness of this musical gem, and experience the magic of Balcony Scene like never before. Let the music weave its spell, transporting you to a world of romance and transcendence. Each note resonates with longing, each chord exudes a profound depth of emotion, and every phrase carries you on a breathtaking journey through the hearts of Romeo and Juliet themselves.Don't miss this extraordinary opportunity to own a piece of musical history. Order your cello and piano arrangement of Balcony Scene today and let the sublime melodies breathe life into your every day. Immerse yourself in the pinnacle of musical expression and create your own personal love story with this unique, unforgettable masterpiece, designed to inspire musicians of all levels.Keywords: cello and piano arrangement, Balcony Scene, Romeo and Juliet film, Craig Armstrong, musical beauty, timeless melodies, emotional journey, passionate moments, forbidden romance, captivating performance piece, musical gem, romance and transcendence, musical history, sublime melodies, personal love story, simple arrangement, accessible to all levels.

Piano Trio - Level 2 - Digital Download SKU: A0.1474945 Composed by Traditional. Arranged by Colin Kirkpatrick. Folk,Historic,Traditional. 17 pages. Colin Kirkpatrick Publications #1052537. Published by Colin Kirkpatrick Publications (A0.1474945). This is one of the most popular and best-loved folksongs of all time, made famous by Simon and Garfunkel, Bob Dylan and many others. The song is in the Dorian mode and thought to have originated over four hundred years ago. Scarborough (SKAH-buh-ruh) is an English coastal town in the county of Yorkshire. It was occupied by the Romans during the fourth and fifth centuries but today has become the largest holiday resort on the Yorkshire coast with a thriving fishing industry.  There are many different versions of the lyrics and by the end of the 19th century, dozens of variants existed. The repeated chorus of “parsley, sage, rosemary and thyme” is significant. In olden times, these herbs had medicinal purposes. In addition, parsley was associated with comfort, sage with strength, rosemary with love and thyme with courage. The song takes the form of a melancholy dialogue between two individuals who were once lovers but now live separate lives. Each of them asks the listener to pass on a message to the other. The young man requests impossible tasks from his former lover, saying that if she can perform them, he will take her back. In return, she requests equally impossible things of him, saying she will perform her tasks when he performs his. The fact that all the tasks are impossible seems to imply that neither of them have any intention of becoming reunited. This arrangement stays well within the instrumental ranges and attempts to reflect the melancholy feeling of the lyrics. The violin top note is E6 (the E above the treble staff) and the cello top note is G4 (the G above the bass staff). This arrangement would make a splendid encore piece for a recital.

Level 2 - Digital Download SKU: A0.1444898 Composed by Traditional. Arranged by Colin Kirkpatrick. Celtic,Folk,Historic,Irish,Multicultural,World. 20 pages. Colin Kirkpatrick Publications #1024766. Published by Colin Kirkpatrick Publications (A0.1444898). This is one of the most popular and best-loved folksongs of all time, made famous by Simon and Garfunkel, Bob Dylan and many others. The song is in the Dorian mode and thought to have originated over four hundred years ago.  Scarborough (SKAH-buh-ruh) is an English coastal town in the county of Yorkshire. It was occupied by the Romans during the fourth and fifth centuries but today has become the largest holiday resort on the Yorkshire coast with a thriving fishing industry.   There are many different versions of the lyrics and by the end of the 19th century, dozens of variants existed. The repeated chorus of “parsley, sage, rosemary and thyme” is significant. In olden times, these herbs had medicinal purposes. In addition, parsley was associated with comfort, sage with strength, rosemary with love and thyme with courage. The song takes the form of a melancholy dialogue between two individuals who were once lovers but now live separate lives. Each of them asks the listener to pass on a message to the other. The young man requests impossible tasks from his former lover, saying that if she can perform them, he will take her back. In return, she requests equally impossible things of him, saying she will perform her tasks when he performs his. The fact that all the tasks are impossible seems to imply that neither of them have any intention of becoming reunited.  This arrangement for woodwind instruments and piano stays well within the instrumental ranges and attempts to reflect the melancholy feeling of the lyrics. The clarinet part avoids awkward movement around the break. This arrangement would make a splendid encore piece for a recital.

Level 2 - Digital Download SKU: A0.1473773 Composed by Traditional. Arranged by Colin Kirkpatrick. Folk,Historic,Traditional. 20 pages. Colin Kirkpatrick Publications #1051492. Published by Colin Kirkpatrick Publications (A0.1473773). This is one of the most popular and best-loved folksongs of all time, made famous by Simon and Garfunkel, Bob Dylan and many others. The song is in the Dorian mode and thought to have originated over four hundred years ago. Scarborough (SKAH-buh-ruh) is an English coastal town in the county of Yorkshire. It was occupied by the Romans during the fourth and fifth centuries but today has become the largest holiday resort on the Yorkshire coast with a thriving fishing industry.  There are many different versions of the lyrics and by the end of the 19th century, dozens of variants existed. The repeated chorus of “parsley, sage, rosemary and thyme” is significant. In olden times, these herbs had medicinal purposes. In addition, parsley was associated with comfort, sage with strength, rosemary with love and thyme with courage. The song takes the form of a melancholy dialogue between two individuals who were once lovers but now live separate lives. Each of them asks the listener to pass on a message to the other. The young man requests impossible tasks from his former lover, saying that if she can perform them, he will take her back. In return, she requests equally impossible things of him, saying she will perform her tasks when he performs his. The fact that all the tasks are impossible seems to imply that neither of them have any intention of becoming reunited. This arrangement stays well within the instrumental ranges and attempts to reflect the melancholy feeling of the lyrics. This arrangement would make a splendid encore piece for a recital.

Woodwind Ensemble Bassoon,Flute,Oboe - Level 2 - Digital Download SKU: A0.1442831 Composed by Traditional. Arranged by Colin Kirkpatrick. Celtic,Folk,Historic,Irish,Multicultural,Traditional,World. 20 pages. Colin Kirkpatrick Publications #1022767. Published by Colin Kirkpatrick Publications (A0.1442831). This is one of the most popular and best-loved folksongs of all time, made famous by Simon and Garfunkel, Bob Dylan and many others. The song is in the Dorian mode and thought to have originated over four hundred years ago.  Scarborough (SKAH-buh-ruh) is an English coastal town in the county of Yorkshire. It was occupied by the Romans during the fourth and fifth centuries but today has become the largest holiday resort on the Yorkshire coast with a thriving fishing industry.  There are many different versions of the lyrics and by the end of the 19th century, dozens of variants existed. The repeated chorus of “parsley, sage, rosemary and thyme” is significant. In olden times, these herbs had medicinal purposes. In addition, parsley was associated with comfort, sage with strength, rosemary with love and thyme with courage. The song takes the form of a melancholy dialogue between two individuals who were once lovers but now live separate lives. Each of them asks the listener to pass on a message to the other. The young man requests impossible tasks from his former lover, saying that if she can perform them, he will take her back. In return, she requests equally impossible things of him, saying she will perform her tasks when he performs his. The fact that all the tasks are impossible seems to imply that neither of them have any intention of becoming reunited. This arrangement for woodwind instruments and piano stays well within the instrumental ranges and attempts to reflect the melancholy feeling of the lyrics. It would make an excellent addition to a woodwind recital.    

Level 2 - Digital Download SKU: A0.1452373 Composed by Traditional. Arranged by Colin Kirkpatrick. Folk,Historic,Multicultural,World. 20 pages. Colin Kirkpatrick Publications #1031703. Published by Colin Kirkpatrick Publications (A0.1452373). This is one of the most popular and best-loved folksongs of all time, made famous by Simon and Garfunkel, Bob Dylan and many others. The song is in the Dorian mode and thought to have originated over four hundred years ago.  Scarborough (SKAH-buh-ruh) is an English coastal town in the county of Yorkshire. It was occupied by the Romans during the fourth and fifth centuries but today has become the largest holiday resort on the Yorkshire coast with a thriving fishing industry.  There are many different versions of the lyrics and by the end of the 19th century, dozens of variants existed. The repeated chorus of “parsley, sage, rosemary and thyme” is significant. In olden times, these herbs had medicinal purposes. In addition, parsley was associated with comfort, sage with strength, rosemary with love and thyme with courage. The song takes the form of a melancholy dialogue between two individuals who were once lovers but now live separate lives. Each of them asks the listener to pass on a message to the other. The young man requests impossible tasks from his former lover, saying that if she can perform them, he will take her back. In return, she requests equally impossible things of him, saying she will perform her tasks when he performs his. The fact that all the tasks are impossible seems to imply that neither of them have any intention of becoming reunited. This arrangement for woodwind instruments and piano stays well within the instrumental ranges and attempts to reflect the melancholy feeling of the lyrics. It would make an excellent addition to a woodwind recital.

Guitar, Guitar Tab - Digital Download By Wes Montgomery. Arranged by Sandy Shalk. 4 pages. Published by Sandy Shalk

Digital Download SKU: HX.364989 By Keane. Pop,Rock. Piano/Vocal/Guitar (Piano Accompaniment). 7 pages. Published by Hal Leonard Europe (HX.364989).

String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.798118 Composed by Ludwig van Beethoven. Arranged by Inacio Saldanha. Classical,Concert,Standards,World. Score and parts. 15 pages. Inacio Saldanha #6252921. Published by Inacio Saldanha (A0.798118). The Turkish March (Marcia alla turca) is a well-known classical march theme by Ludwig van Beethoven. It was written in the Turkish style popular in music of the time.The theme was first used in Beethoven's Six Variations on an Original Theme, Op. 76, of 1808. In 1811, Beethoven wrote an overture and incidental music to a play by August von Kotzebue called The Ruins of Athens (Op. 113), which premiered in Pest in 1812. The Turkish March appears as movement four of the incidental music. Many music lovers associate the theme with The Ruins of Athens, although that was not its original appearance.The march is in Bâ™­ major, tempo vivace and 2/4 time. Its dynamic scheme is highly suggestive of a procession passing by, starting out pianissimo, poco a poco rising to a fortissimo climax and then receding back to pianissimo by the coda. Unlike much of Beethoven's other orchestral music, the woodwinds are the dominant voice rather than the strings. (Wikipedia)Arranged for String Quintet. Key of Bb. Intermediate.

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...

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: A0.532733 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: A0.532735 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...

Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.811269 Composed by Johann Sebastian Bach. Arranged by Ralph Sauer. Baroque,Classical. Score and parts. 80 pages. Gordon Cherry #6744877. Published by Gordon Cherry (A0.811269). Bach's Three-Part Inventions, BWV 787-801 (also known as Sinfonias) were composed in Köthen, Germany around the year 1720 for harpsichord. Each work is characterized by the contrapuntal working of a single melodic line. The fifteen short pieces cover eight major and seven minor keys.Bach included with the collection of the Two and Three-Part Inventions these instructions to students of music:Forthright instruction, wherewith lovers of the clavier, especially those desirous of learning, are shown in a clear way not only 1) to learn to play two voices clearly, but also after further progress 2) to deal correctly and well with three obbligato parts, moreover at the same time to obtain not only good ideas, but also to carry them out well, but most of all to achieve a cantabile style of playing, and thereby to acquire a strong foretaste of composition.Ralph Sauer has brilliantly arranged these great works for Three Trombones in one single collection (he first arranged these in the early 1970s in several volumes with different publishers and are now out of print) and is appropriate for advanced performers.