Instrumental Solo,Kalimba - Level 3 - Digital Download SKU: A0.1347174 Composed by Arthur Freed and Nacio Herb Brown. Arranged by Bettina Schipp. 20th Century,Broadway,Film/TV,Musical/Show,Standards. Individual part. 3 pages. Songbooks.info #931968. Published by songbooks.info (A0.1347174). Singin' in the Rain is a hit film written in 1929 by Arthur Freed (lyrics) and Nacio Herb Brown (music). Gene Kellys dances and sings in the 1952 sound film of the same name.Already after the Second World War, the song became a jazz standard and was performed by artists such as Dave Brubeck, Oscar Peterson, John Serry Sr., Sammy Davis Jr. and Doris Day, just to name a few artists. In 2004, the American Film Institute ranked the song third in its list of the 100 best American film songs.The song was adapted for the Kalimba with 17 tines and notated using a simple tablature - no reading of classical music notation necessary! The tablature is explained in the appendix.The arrangement is intended for one player. There is no distinction between ''melody'' and ''accompaniment'', the notation is played as a wholeThe setting was created at a slow tempo with a clearly audible metronome - perfect for learning and practicing. We hope you enjoy making music...!Singin’ in the Rain ist ein 1929 geschriebener Filmschlager von Arthur Freed (Text) und Nacio Herb Brown (Musik). Gene Kellys tanzut und singt im gleichnamigen Tonfilm von 1952.Bereits nach dem zweiten Weltkrieg wurde der Song zum Jazzstandard und wurde von Interpreten wie Dave Brubeck, Oscar Peterson, John Serry senior, Sammy Davis jr. und Doris Day interpretiert, nur um einige Künstler zu nennen. Vom American Film Institute wurde das Lied 2004 auf Platz 3 in die Liste der 100 besten US-amerikanischen Filmsongs gewählt.Das Lied wurde für die Kalimba mit 17 Stimmzungen adaptiert und mit einer einfachen Tabulatur notiert - kein Notenlesen nötig! Die Tabulatur wird im Anhang erklärt.Das Arrangement ist für eine Spielerin / einen Spieler gedacht. Es gibt keine Unterscheidung zwischen ''Melodie'' und ''Begleitung'', die Notation wird gesamt gespielt Die Vertonung wurde in einem langsamen Tempo mit einem klar hörbarem Metronom erstellt - perfekt zum Lernen und Üben. Wir wünschen viel Spaß beim Musizieren...!

Small Ensemble Flute,Guitar,Oboe,Piano,Ukulele,Violin - Level 2 - Digital Download SKU: A0.1013009 Composed by Traditional. Arranged by Na-Mara. Celtic,Folk,World. Score and parts. 1 pages. Na-Mara #5778641. Published by Na-Mara (A0.1013009). Entemediu de la Piedra: this traditional folk tune from Asturias (Spain) is arranged for two melody instruments and is one of a number of folk tune arrangements by the UK based folk duo Na-Mara. Written in 3/4 waltz time in the key of G, Entemediu de la Piedra can be played as a duet on two mandolins or on any C clef instruments (violins, ukuleles, flutes etc), with the guitar chords accompanying the individual players. We came across this tune from the playing of our friend, Asturian musician, Alberto Ablenado. Performance tips: this is beginner / intermediate level piece played andante or at a moderate speed. We have added a second melody part to the original tune, and this makes a nice interplay between the melody instruments. Look at varying the dynamics on some of the repeated sections. The guitar accompaniment can be played with broken chords, or arpeggio style. This is a nice opener for a set of tunes, and we sometime follow the Entemediu de la Piedra, of our own arrangement of a Spanish Asturian or Galician Muiñeira.Na-Mara (Rob Garcia and Paul McNamara) perform this instrumental piece on mandolin or octave mandola, with guitar accompaniment. They have also used it alongside other tunes in workshops as a teaching and learning resource, introducing players to tunes from different parts of the Celtic world.Recordings of this and other tunes on SMP can be found on Na-Mara’s albums ‘Sisters & Brothers’, ‘Navajos & Pirates’ and ‘The Bite’Na-Mara have built an enviable reputation for fine story-telling and musicianship. They have performed in venues and festivals in the UK, Europe and China, and on BBC Radio 4, and a plethora of internet and local radio stations. They have consistently delivered new and exciting material to audiences.  This includes their own take on traditional tunes from Brittany, France, Ireland, and the Spanish Celtic regions of Asturias and Galicia.Rob Garcia:  mandolin, octave mandola, classical guitar & backing vocalsPaul McNamara: guitar & lead vocals Web site: http://www.na-mara.com/

Ocarina - Digital Download SKU: A0.1025645 Composed by Traditional. Arranged by Rebecca Lutz. Christian,Christmas,Praise & Worship,Sacred. Score. 19 pages. Rebecca Lutz #4991889. Published by Rebecca Lutz (A0.1025645). Ocarinas come in many shapes, sizes, and tonal ranges, which can make it a challenge to find sheet music. This collection of twenty-five well-known Christmas tunes is written in a variety of keys, all suitable for a transverse 12-hole ocarina in C. Because ocarinas come in such a wide variety of pitch ranges, it includes both standard notation and a tablature system so that the player can adjust each piece to fit their instrument, regardless of the key. Additionally, each piece also includes an indication of the overall pitch range, and most tunes fall in the 8-9 note range, which can be played on a 4- or 5- hole ocarina. This also means that the tunes will work for any melody instrument with about an octave range (and the occasional accidental).Song ListAngels We Have Heard On HighAway in a Manger: Melody 1Away in a Manger: Melody 2Bring a Torch, Jeanette IsabellaCoventry CarolDance of the Sugar Plum FairyGod Rest Ye Merry, GentlemenGood King WenceslasHark! The Herald Angels SingI Saw Three ShipsIn The Bleak MidwinterIt Came Upon the Midnight ClearJingle BellsJoy To The WorldLo, How a Rose E'er BloomingO Come, All Ye FaithfulO Come, O Come, EmmanuelO Little Town of BethlehemOf the Father's Love BegottenOnce in Royal David's CitySilent NightThe First NoelTwas in the Moon of WintertimeWe Three KingsWe Wish You a Merry ChristmasWhat Child Is This

Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.874246 Composed by John Powell. Arranged by a do Ray me flute studio production , Ray-Michael Kauffman. Contemporary. Octavo. 31 pages. As do Ray meflute studio production #3885051. Published by as do Ray meflute studio production (A0.874246). Https://www.youtube.com/watch?v=PqIQfHGxLEg&feature=youtu.be With thoughts leaning and reflecting  on the end on Fall, and November, I can’t help but notice the beauty of fall and the trees and foliage. This wonderous little musical piece , from the motion picture The Lorax from the Dr. Seuss movie, depicts of the main character the Lorax speaking for the trees and in many ways advocating for all things, people and groups that can not speak for themselves. And even in the times that we live in, this story still rings true today.  And beauty can still be found in sadness, or endings whether the be falling leaves in the park, or even with the events that are said , we grow and learn, being grateful for what we have , and learn to find our voices to speak out for the things that truly matter in life. This music, which is much like a hymnal, especially in the beginning of the piece, is perfect for this message. A message of peace, reflectiveness and hope and courage. As a side note , this piece should be played with lots of thoughtful rubato, and when the meter changes for 4/4(5/4) to 12/8, the beat does not change from quarter to dotted quarter .In the middle, minor section, I really added and improvised my musical skills per chord and melody of the song which makes my arrangement very distinctive, individual and unique. This would be great for a movie themed concert,  all by it's self, for a funeral, for Arbor Bay/ Tree ceremony , for fall or autumn  music/ themed programs, recitals, etc. Sure to be a well used piece in your collection. Scored for piccolo, flute 1, 2, 3 4, alto and bass flute. This pieces suites smaller groups , such as 1 per part, or doubling up with discretion. please visit my website at doraymeflute.com  , too!I hope you enjoy this as much as I do, thank you for your support.#movie music #arborday#holidaymusic #fallmusic             #holiday                  #fall    #autumn        #season        #flutechoir     #movieflute #autumnmusic

Small Ensemble Flute,Guitar,Oboe,Piano,Ukulele,Violin - Digital Download SKU: A0.1013018 Composed by Traditional. Arranged by Na-Mara. Celtic,Folk,World. Score and parts. 1 pages. Na-Mara #5970327. Published by Na-Mara (A0.1013018). Muiñeira de Morrazo: this traditional muiñeira from Galicia (Spain) is one of a number of folk tune arrangements by the UK based folk duo Na-Mara. A jig-like dance tune, written in 6/8 in the Key of G, Muiñeira de Morrazo  can be played as a duet on two mandolins or on any C clef instruments (violins, ukuleles, flutes etc), with the guitar chords accompanying the individual players. Performance tips: this is beginner / intermediate level piece played at andante or at a medium fast or allegro speed. We have added a second melody part to the original tune, and this makes a nice interplay between the melody instruments. As it is a dance–like tune, try to keep the tempo even throughout. The guitar accompaniment can be played with strummed chords. When we play this live we make a two-part set by starting with the Muiñeira de Morrazo , and finishing with arrangement of the Spanish Galician Muiñeira,  Muiñeira de Lugo.Na-Mara (Rob Garcia and Paul McNamara) perform this instrumental piece on mandolin or octave mandola, with guitar accompaniment. They have also used it alongside other tunes in workshops as a teaching and learning resource, introducing players to tunes from different parts of the Celtic world.Recordings of this and other tunes on SMP can be found on Na-Mara’s albums ‘Sisters & Brothers’, ‘Navajos & Pirates’ and ‘The Bite’Na-Mara have built an enviable reputation for fine story-telling and musicianship. They have performed in venues and festivals in the UK, Europe and China, and on BBC Radio 4, and a plethora of internet and local radio stations. They have consistently delivered new and exciting material to audiences.  This includes their own take on traditional tunes from Brittany, France, Ireland, and the Spanish Celtic regions of Asturias and Galicia.Rob Garcia:  mandolin, octave mandola, classical guitar & backing vocalsPaul McNamara: guitar & lead vocals Web site: http://www.na-mara.com/  

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.784345 Composed by Joshua Hauser. Instructional. 110 pages. Slide Ride #5288699. Published by Slide Ride (A0.784345). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.·     Choose a tempo.·     Choose a dynamic.·     Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

Viola Solo - Level 3 - Digital Download SKU: A0.784339 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288683. Published by Slide Ride (A0.784339). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.·     Choose a tempo.·     Choose a dynamic.·     Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

Percussion Ensemble - Level 3 - Digital Download SKU: A0.784338 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288673. Published by Slide Ride (A0.784338). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.·     Choose a tempo.·     Choose a dynamic.·     Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

Small Ensemble - Level 3 - Digital Download SKU: A0.784334 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288661. Published by Slide Ride (A0.784334). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.·     Choose a tempo.·     Choose a dynamic.·     Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

Flute Solo - Level 3 - Digital Download SKU: A0.784325 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288633. Published by Slide Ride (A0.784325). Donut Etudes vol. 3: Don’t Step in the Holes!1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.·      Choose a tempo.·      Choose a dynamic.·      Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.784343 Composed by Joshua Hauser. Instructional. Score and parts. 146 pages. Slide Ride #5288693. Published by Slide Ride (A0.784343). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.·     Choose a tempo.·     Choose a dynamic.·     Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

Oboe Solo - Level 3 - Digital Download SKU: A0.784326 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288643. Published by Slide Ride (A0.784326). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.·     Choose a tempo.·     Choose a dynamic.·     Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

Tuba Solo - Digital Download SKU: A0.865253 Arranged by Chris Cooke. Christian,Gospel,Praise & Worship,Sacred. Individual part. 65 pages. Chris Cooke #3603527. Published by Chris Cooke (A0.865253). 50 Favorite Hymns for Solo and Duet Instruments is a sequel to the first book, Hymns for Solo and Duet Instruments.  This second collection contains my all-time favorites and is written for early-mid-intermediate players.  The hymns are written so that instruments can be mixed and matched for duet or ensemble purposes.  Suitable for worship services, they can be played as offertories or special music selections, or as accompaniment to congregational singing.  Many of the hymns are in the traditional hymnal keys, however, there are some that may be slightly lower to accommodate instrumental ranges.  This tuba book contains only the melody of these hymns. One verse and chorus is written for each and can be repeated as needed.  Hymns with a particular theme or key can be combined for a medley, e.g. I Love to Tell the Story, Oh How I Love Jesus, and He Keeps Me Singing-all are in A-flat.  Melody and duet parts are available for flute/oboe, clarinet/trumpet, alto sax, French horn, and trombone/baritone/bassoon.  When necessary, parts occasionally cross for ease of playing for the bass instruments.  A piano accompaniment book is also available.  These accompaniments are eclectic in style and span the gamut from classical to gospel.  The hymns with their concert keys are:   All Things Bright and Beautiful, alternate tune, C And Can It Be, F Are You Washed in the Blood, G At Calvary, C Be Thou My Vision, E-flat Blessed Be the Name, A-flat Breathe on Me, Breath of God, F Come Christians, Join to Sing, E-flat Faith is the Victory, E-flat Glory to His Name, G Heavenly Sunlight, F He Keeps Me Singing, A-flat I Love to Tell the Story, A-flat Immortal, Invisible, God Only Wise, A-flat It Is Mine, B-flat Jesus Saves, F Joy Unspeakable and Full of Glory, A-flat Just As I Am, E-flat Leaning on the Everlasting Arms, A-flat Like a River Glorious, F Love Lifted Me, B-flat My Faith Looks Up to Thee, D Nothing But The Blood, A-flat Oh How I Love Jesus, A-flat On Jordan’s Stormy Banks, E-flat Praise Him!  Praise Him!  F Redeemed, How I Love to Proclaim It!  A-flat Rejoice, The Lord Is King!  C Revive Us Again, F Rock of Ages, B-flat Send the Light, F Since I Have Been Redeemed, F Since Jesus Came into My Heart, F Softly and Tenderly, F Stand Up, Stand Up for Jesus, G Standing on the Promises, B-flat Sunshine in my Soul, F The Old Rugged Cross, B-flat There is Power in the Blood, B-flat There Shall Be Showers of Blessing, B-flat The Solid Rock, F This is My Father’s World, E-flat To God Be the Glory, G Trust and Obey, F We Gather Together, B-flat When the Roll is Called Up Yonder, G When We All Get to Heaven, C Wonderful Grace of Jesus, B-flat Wonderful Words of Life, F

French Horn Solo - Level 3 - Digital Download SKU: A0.784335 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288663. Published by Slide Ride (A0.784335). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.·     Choose a tempo.·     Choose a dynamic.·     Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

Concert Band - Level 3 - Digital Download SKU: A0.784346 Composed by Joshua Hauser. Instructional. Score and parts. 507 pages. Slide Ride #5288703. Published by Slide Ride (A0.784346). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.·     Choose a tempo.·     Choose a dynamic.·     Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!