Piano Solo - Level 4 - Digital Download SKU: A0.499760 Composed by S. G. Potts. 20th Century,Contemporary,Romantic Period,Standards. Score. 18 pages. S. G. Potts #3512109. Published by S. G. Potts (A0.499760). The Raymond Variations for Piano (Set 1),  received its world premiere on 2nd December 2015 at the 1901 Arts Club London,  performed by Lorraine Womack-Banning as part of a memorial tribute concert to  her late husband Raymond Banning (former professor of pianoforte at Trinity  College London). The Variations  are based on the three Andantino themes which form a central part of the ‘Raymond  Overture’ written in 1851 by French composer Ambroise Thomas: 1811-1896. There are nine piano variations in total; these include a  mix of both full and short partial variations (including a very short  declamatory two chord introductory variation). The variations are not numbered  or set-apart in a conventional manner, rather they form part of a continuous  whole, and are separated only by bridge passages and/or cadence points; they last  a little under eight minutes in duration, and strongly exploit the passionate  elements of Thomas’s themes. They have been written for the most part in an  accessible tonal style (with a passing nod to Messrs. Beethoven and J.S. Bach) and  are based predominately in the home key of D minor, but they do also take  advantage of many 20th and 21st century harmonic techniques where deemed appropriate: e.g. added note chords; cluster chords; percussive chords, and melodic  deflection. In particular, the interval of the major 7th and its enharmonic  equivalent(s) (the most distinctive interval in the main andantino theme from   the overture) is heard in various different guises throughout the variations:  this includes its inversion the minor 2nd which has a very distinctive sharp  dissonant quality. Much play is made of these intervals – to somewhat humorous  effect in variation 8 (the joker in the pack) heard some three quarters into  the set, here the dissonant interval is pounded out double forte before hastily  leading into some boisterous cluster harmonic instability; then quietly begins  variation 9 which duly brings the set to a close. Look out for the sting in the tail!

String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.1488229 Composed by William Shield. Arranged by Robert Hoskins. Classical. 24 pages. Artaria Editions #1065116. Published by Artaria Editions (A0.1488229). Shield's Trios, written for a continental audience, are seminal works in the composer's output and mark a new level of compositional attainment in the English chamber music repertory. Technically, they contain a wide variety of ideas which are developed with great ingenuity through a wide range of keys, dynamic contrasts and timbral effects. Aesthetically, they blend 'popular' and 'learned' taste along with 'orchestral' splendour and 18th century notions of beauty. The Trios present a dazzling range of moods and style with each work demonstrating Shield's mastery of the idiom, both in his treatment of individual instruments and in the handling of textures. While there is no shortage of melody and accompaniment, in which the violin takes the lead, there are many memorable solos for the viola and the cello in its high register. The wide range of textures includes melodic decoration, dialogue, contrast of high and low register, legato and staccato, powerful unison and double octaves. Shield's ability to incorporate arioso-like melody, the prevailing 'symphonic' style and folk elements was largely achieved through the cross-generic requirements of English comic opera (a form to which Shield devoted himself during the whole of his creative career). In general, Shield's technique results in a firm control of the way music moves - with sometimes a surprising degree of stylistic restlessness and sometimes of unexpected plainness and simplicity. The trios Shield selected for publication were issued by Longman and Broderip, London, in January 1796 under the inspection of the composer. No autograph of these works survives and Longman and Broderip's printing, a copy of which is preserved in the Bodleian Library, Oxford, under the call number Mus.Instr.I 214(15), is the only source of this edition. The title page, with its dedicatory inscription, reads: Six / TRIOS / FOR / Violin, Tenor and Violoncello, / Composed / And Inscribed to the Memory of / Jacob More Esqr. / By / Wm. SHIELD./ (Musician in Ordinary to His Majesty) / Entd. At Statn. Hall [rule] Price 10/6 / ADVERTISEMENT / These Trios were Composed chiefly for the abovementioned Celebrated Landscape Painter (in Rome) / And are Dedicated to his Memory as a Token of Gratitude for the Services he rendered the Author / during his Residence in that City. The movements which are written in the uncommon Time / of 5/4 have amused some of the most distinguished Professors both in England & Italy which / induces the Author to hope they will not be disagreeable to the Public at Large / Goodge Street, Jany. 1st 1796 / [rule] / London, Printed for the Author by Longman & Broderip, No.26, Cheapside & No.13, Haymarket. Shield's three previously unpublished string trios are preserved in autograph score in the British Library under the call number Ms.Add.51015; they provide the only source for this edition. This present edition presents as faithfully as possible the intentions of these sources. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing, markings have been reconstructed from parallel passages. The notation of appoggiature has also been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Robert Hoskins.

String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.1488228 Composed by William Shield. Arranged by Robert Hoskins. Classical. 27 pages. Artaria Editions #1065115. Published by Artaria Editions (A0.1488228). Shield's Trios, written for a continental audience, are seminal works in the composer's output and mark a new level of compositional attainment in the English chamber music repertory. Technically, they contain a wide variety of ideas which are developed with great ingenuity through a wide range of keys, dynamic contrasts and timbral effects. Aesthetically, they blend 'popular' and 'learned' taste along with 'orchestral' splendour and 18th century notions of beauty. The Trios present a dazzling range of moods and style with each work demonstrating Shield's mastery of the idiom, both in his treatment of individual instruments and in the handling of textures. While there is no shortage of melody and accompaniment, in which the violin takes the lead, there are many memorable solos for the viola and the cello in its high register. The wide range of textures includes melodic decoration, dialogue, contrast of high and low register, legato and staccato, powerful unison and double octaves. Shield's ability to incorporate arioso-like melody, the prevailing 'symphonic' style and folk elements was largely achieved through the cross-generic requirements of English comic opera (a form to which Shield devoted himself during the whole of his creative career). In general, Shield's technique results in a firm control of the way music moves - with sometimes a surprising degree of stylistic restlessness and sometimes of unexpected plainness and simplicity. The trios Shield selected for publication were issued by Longman and Broderip, London, in January 1796 under the inspection of the composer. No autograph of these works survives and Longman and Broderip's printing, a copy of which is preserved in the Bodleian Library, Oxford, under the call number Mus.Instr.I 214(15), is the only source of this edition. The title page, with its dedicatory inscription, reads: Six / TRIOS / FOR / Violin, Tenor and Violoncello, / Composed / And Inscribed to the Memory of / Jacob More Esqr. / By / Wm. SHIELD./ (Musician in Ordinary to His Majesty) / Entd. At Statn. Hall [rule] Price 10/6 / ADVERTISEMENT / These Trios were Composed chiefly for the abovementioned Celebrated Landscape Painter (in Rome) / And are Dedicated to his Memory as a Token of Gratitude for the Services he rendered the Author / during his Residence in that City. The movements which are written in the uncommon Time / of 5/4 have amused some of the most distinguished Professors both in England & Italy which / induces the Author to hope they will not be disagreeable to the Public at Large / Goodge Street, Jany. 1st 1796 / [rule] / London, Printed for the Author by Longman & Broderip, No.26, Cheapside & No.13, Haymarket. Shield's three previously unpublished string trios are preserved in autograph score in the British Library under the call number Ms.Add.51015; they provide the only source for this edition. This present edition presents as faithfully as possible the intentions of these sources. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing, markings have been reconstructed from parallel passages. The notation of appoggiature has also been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Robert Hoskins.

Trombone Solo - Level 3 - Digital Download SKU: A0.811087 Composed by Tom Ervin. Arranged by Marco Bordogni. Classical,Instructional,Opera,Romantic Period. Individual part. 26 pages. Gordon Cherry #5009439. Published by Gordon Cherry (A0.811087). The Rochut editions of Bordogni’s vocalises have become the most widly used etudes in American trombone pedigogy. They are prized for their lyric beauty, and also for their development of endurance, upper range, legato technique, styling and more. Other bass clef instrumentalists use Rochut. These Twenty Counterparts may be practiced and played as etudes alone. They are similar in style to the Bordogni; some are harder and some are easier than the Bordogni originals. But the primary intent was for recreational duet playing and for the trombone studio. Duets are fun and more, contributing to sightreading, intonation, ensemble, style-matching, confidence, independence, etc. As with the piano accompaniments, the duet parts also enhance the original melodies. Read what these famous trombonists have to say about this new contribution to the trombone literature …indisputably one of the most invaluable additions to appear in a very long time. Understanding lyricism is much easier when hearing this second voice. Joseph Alessi, Principal Trombone, New York Philharmonic …fantastic and beautiful. What a great idea! They will give the student a wonderful sense of music-making. Henry Charles Smith, Arizona State University …absolutely ingenious….they capture the essential character of each piece and cleverly expand and enhance the original material. Can be ‘stand alone’ material in its own right. I have already used them successfully on trombone, euphonium, and tuba. Loren Marsteller, Los Angeles An enjoyable new way to play the old favorites. Perform them with friends; record one part and play the other; play them alone…a great idea. Ralph Sauer, Principal Trombone Los Angeles Philharmonic A great book and a great idea! Really valuable; I am using it in my teaching. Jay Friedman, Principal Trombone, Chicago Symphony Orchestra Excellent studies, challenging in all registers, rewarding to play. Ned Meredith, formerly San Francisco Symphony Orchestra A very insightful and fresh approach to the trombone’s most important collection of etudes…destined to become a standard in the trombone literature. An absolute must! Michael Davis, jazz recording artist, New York City The unexpected harmonic progressions are a delight. They work great for euphoniums and for trombone and tuba R. Winston Morris, Tennessee Technological University …similar to the Rochut yet contains challenging rhythmic independence and contrast, increasing the value of ensemble experience. As an aid to duet performance, the measure, staff and page format is arranged the same as Rochut’s Fischer edition. Glenn P. Smith, Professor Emeritus University of Michigan A fine addition to the lyrical literature Charles Vernon, Bass Trombone Chicago Symphony Orchestra They’re not only enjoyable to play, but add some ‘zip’, harmonically, melodically, and rhythmically, to the original melodies. Buddy Baker University of Northern Colorado Compositionally, very interesting, not just a duet in thirds…stylistically appropriate…a great way to begin a lesson. Vern Kagarice, University of North Texas An outstanding idea, very valuable Keith Brown, Indiana University I enjoy the book with my students and then also change parts Carsten Svanberg, Danish National Symphony Orchestra Bravo! They serve a great purpose, very musical and playable. Will become a part of the standard trombone repertoire in a very short time…already part of mine. Jiggs Whigham, Professor of Trombone and Jazz, Cologne Germany

Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1414175 By Lady Gaga. By RedOne and Stefani Germanotta. Arranged by Jonathan Eno BEM. Disco,Pop,Rock. 22 pages. Jonathan Eno #995947. Published by Jonathan Eno (A0.1414175). An energetic medium to advanced arrangement for saxophone ensemble of a classic Lady Gaga song. For entry level improvisers, they can use either the minor pentatonic or blues scale for the improvised section, taking note of the key change #upatone. Attention to the articulation and expression will help this arrangment sing.

Flute and piano - intermediate - Digital Download SKU: S9.Q11428 A five-course birthday dinner. Composed by Claus-Dieter Ludwig. This edition: Sheet music. Downloadable. Duration 10 minutes. Schott Music - Digital #Q11428. Published by Schott Music - Digital (S9.Q11428). Most well-known and generally popular - that's what the Happy Birthday meals served by Claus-Dieter Ludwig are. Meanwhile, they are available in various instrumentations (for violin and piano, piano solo and piano duet, accordion duo, string quartet, piano trio, wind trio, etc.). Now, it's the flutists' turn to be invited to the buffet – we beg your pardon, to come into their own as gourmets! Enjoy five entertaining variations on the famous birthday song: 'Andante festivo e culinario', 'Lento lasagne e lambrusco', 'Marcia marsala e mozzarella', 'Valzero vongole e vaniglia', and the crowning dessert, 'Tango tartufo e tagliatelle'! A rewarding encore piece that should be a delight to the performers and audience alike.

Clarinet in Bb and piano - intermediate - Digital Download SKU: S9.Q7284 A five-course Birthday dinner. Composed by Claus-Dieter Ludwig. This edition: Sheet music. Downloadable. Duration 10 minutes. Schott Music - Digital #Q7284. Published by Schott Music - Digital (S9.Q7284). Most well-known and generally popular - that's what the Happy Birthday meals served by Claus-Dieter Ludwig are. Meanwhile, they are available in various instrumentations (for violin and piano, piano solo and piano duet, accordion duo, string quartet, piano trio, wind trio, etc.). Now, it's the clarinettists' turn to be invited to the buffet – we beg your pardon, to come into their own as gourmets! Enjoy five entertaining variations on the famous birthday song: 'Andante festivo e culinario', 'Lento lasagne e lambrusco', 'Marcia marsala e mozzarella', 'Valzero vongole e vaniglia', and the crowning dessert, 'Czárdás ciabatta e cioccolata'! A rewarding encore piece that should be a delight to the performers and audience alike.

Wind quintet (Querflute, oboe, clarinet, horn and bassoon) - intermediate - Digital Download SKU: S9.Q11714 A five-course birthday dinner. Composed by Claus-Dieter Ludwig. Arranged by Andreas N. Tarkmann. This edition: score and parts. Downloadable, Score and parts. Duration 10 minutes. Schott Music - Digital #Q11714. Published by Schott Music - Digital (S9.Q11714). Most well-known and generally popular - that's what the Happy Birthday meals served by Claus-Dieter Ludwig are. Meanwhile, they are available in various instrumentations (for piano solo and piano duet, accordion duo, string quartet, piano trio). Now, Andreas Tarkmann has rearranged the work, and it's the wind instrument players' turn to be invited to the buffet – we beg your pardon, to come into their own as gourmets! Flute, oboe, clarinet, horn and bassoon enjoy five entertaining variations on the famous birthday song into which other music titles have been sneaked as well: 'Andante festivo e culinario', 'Lento lasagne e lambrusco', 'Marcia marsala e mozzarella', 'Valzero vongole e vaniglia', and the crowning dessert, a fiery 'Tango tartufo e tagliatelle'!

Woodwind Ensemble Double Reed Ensemble - Level 5 - Digital Download SKU: A0.1295741 Composed by Sy Brandon. 20th Century,21st Century,Chamber,Contest,Festival. 124 pages. Sy Brandon #886041. Published by Sy Brandon (A0.1295741). The All Star Concerto for double reed ensemble features a different instrument or instruments in each movement. The title of each movement comes from baseball but they are more descriptive of musical concepts than of baseball analogies. The movements are I. Triple Play (featuring bassoons) II. Perfect Game (featuring English Horn) III. MVP (featuring contrabassoon) IV. Grand Slam  Finale (featuring oboes).

Piano Solo - Level 2 - Digital Download SKU: A0.1202257 Composed by Brandon Nelson. 20th Century,Chamber,Classical,Contemporary,Contest,Festival. Score. 4 pages. Brandon Nelson #800937. Published by Brandon Nelson (A0.1202257). I wrote this piece for my three children. Watching them fall asleep is still a very special time (even as they get older) and I wanted to convey gentleness and a gradual slip into slumber with this music.Technically, the piece makes use of a synthetic pentatonic scale and it's modes. It's essentially in three parts, with the third part stretching out the basic material from the first section in augmentation.

Woodwind Ensemble,Woodwind Quintet - Level 4 - Digital Download SKU: A0.755265 Composed by Sy Brandon. 20th Century,Concert,Contemporary. 80 pages. Sy Brandon #3618183. Published by Sy Brandon (A0.755265). This composition is in three movements. Sailing on the Mediterranean Sea is very free in form representing the carefreeness of sailing in a sunny, warm climate. Rocky Mountain Starlight is in ABABA form that reflects the wonder and beauty of a clear evening in the high elevations of the Rocky Mountains where one feels they could reach out and touch the stars. The Alhambra represents the strength of this famous fortress that has stood for hundreds of yearsthrough occupations of different powers. The movement has Spanish flavor because of the use of thePhrygian mode with its characteristic lowered second degree.

Saxophone Ensemble,Woodwind Ensemble - Level 4 - Digital Download SKU: A0.755338 Composed by Sy Brandon. 20th Century,Contemporary. 81 pages. Sy Brandon #6619959. Published by Sy Brandon (A0.755338). Hope Collage was commissioned in honor of Hope College's 14th President, Matthew Scogin. President Scogin was inaugurated in 2019 and exemplifies the qualities of hope represented in this piece. The first movement Castles In The Sky is in 6/8 meter with some of the syncopated rhythmic figures that pit 3/4 against the 6/8. The major tonality is disguised by chromaticism either in the melody or in the counterpoint and harmony. The form is basically AB with a Coda. The slow second movement A Light at the End of the Tunnel has the tenor and baritone saxophones representing the darkness of the tunnel using minor and slightly dissonant harmony. The light at the end of the tunnel is represented by the alto and soprano saxophones. Even though they are still in minor, their brightness and rising arpeggios represent a glimmer of hope. By the time the movement nears the end, optimism has taken over and the entire ensemble is in shifting major tonalities leading up to the quiet, yet, prayerful end in B major. The third movement Knock On Wood has a Scherzo quality and is at an allegro tempo. The opening theme sets the tone of optimism with its combination of quartal, quintal, and triadic harmony along with staccato articulation. It is answered by the saxophones doing rhythmic slap tongue in a pyramid formation that represents knocking on wood. The theme and its variations alternate with the slap tongue throughout most of the movement. In several places, the theme and slap tongue appear in canon. Towards the end, the theme becomes fragmented and the slap tongue dominates. The fragments become pieced together leading to a final outburst of 16th note joy before the last chord. The movement ends with foot stomps that rhythmically suggests knock on wood. The last movement Promised Land is in two parts. The first is meditative and prayer-like in a moderate tempo. It has a passacaglia bass line and contrapuntal lines are added above it. It also grows in intensity until it reaches the Allegro, which is the second part and is celebratory. The Allegro begins with a sixteenth note motif that plays an accompaniment role in many places throughout the last section to the slower moving declarative lines. Near the end, motifs from the Moderato section are transformed in the Allegro, therefore linking the two sections.

Instrumental Duet Alto Saxophone,Instrumental Duet,Tenor Saxophone - Level 4 - Digital Download SKU: A0.754936 Composed by Sy Brandon. 20th Century,Baroque,Contemporary. Score and parts. 12 pages. Sy Brandon #3224839. Published by Sy Brandon (A0.754936). This Neo-Baroque suite was written for Andy Wen and Willie L. Morris III for a performance at the 2000 World Saxophone Congress in Montreal. While the movements are based in tonality, they move freely from key to key. The movements are modeled after a Baroque suite and treat the two instruments contrapuntally. Both players play from the score.

Piano Quartet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.755009 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 49 pages. Sy Brandon #3239669. Published by Sy Brandon (A0.755009). In The Land of Wonder-Wander attempts to capture the essence of both Maxfield Parrish’s illustration and Eugene Fields’ poem The Dinkey-Bird. Both the painting and the poem create the feeling of a magical place where beauty, joy and pleasure abound. It is a mysterious place, perhaps as occurring in a dream, yet a place where one does not wish to leave. In The Land of Wonder-Wander begins quietly with vague tonality and sparse instrumentation as it transports the listener into this mystical land. As the tempo becomes stricter and the instrumentation fuller, the beauty of this place is apparent. A change to a triple meter and a faster tempo creates a joyous and wondrous section as there are many sweet treats growing to satisfy the soul. Children scampering and playing are represented by an allegro section with playful melodies and slight dissonance. The Dinkey Bird becomes the focus of the next section, which uses a staccato motif surrounded by rapid scales and arpeggios. These ideas build in intensity, expressing the wonder and beauty of this far away land, until they begin to fade away as the land recedes into the sea. A last flourish occurs as if one is trying to hold on to the experience before one wakes up from this marvelous dream.