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!

Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1254362 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Chamber,Christian,Easter,Historic. 29 pages. Regis Bookshar #847934. Published by Regis Bookshar (A0.1254362). Three selections based on Christ lag in Todesbanden (Christ lay in death's bonds) (from Cantata No.   4, BMV   4) - Johann Sebastian Bach - Saxophone Quintet (2 Altos, 3 Tenors) - Digital Download.Cantata No.   4, BMV   4, Christ lag in Todesbanden (also spelled Todes Banden) (Christ lay in death's bonds) is a cantata for Easter written by Johann Sebastian Bach and is his earliest surviving Church Cantata. It was probably written in 1707 when he was 22 years old. It is a Chorale Cantata, a style in which both the text and the music are based on a hymn. In this instance, the source was Martin Luther's hymn of the same name which became a main Easter hymn in German Lutheranism.Regis Bookshar has transcribed and arranged three selections based on this hymn tune, two from Bach's Cantata No.   4, BMV   4, and also his Chorale Prelude, BMV 625. They may be played individually or as a trilogy and each movement gets more complex than the previous one. The first selection in this trilogy is the Chorale, Christ lag in Todesbanden, the final chorus from his Cantata No.   4, a straighforward four-part chorale setting of the hymn (Regis has also added a fifth part). This is followed by Bach's Chorale Prelude, BMV 625, a piece from his Orgelbuchlein (Little Organ Book), a collection of 46 Preludes for organ, written almost exclusively during the 1708-1717 period, while Bach was court organist at Weimar. For the final selection, Regis has placed the polyphonic and imitative chorus, Es war ein wunderlicher Krieg, da Tod und Leben rungen) (It was a strange battle, that death and life waged), which Bach had placed in the middle of his Cantata No.   4.This arrangement is for a Saxophone Quintet, consisting of 2 Alto Saxophones and 3 Tenor Saxophones. Included are a score and a complete set of parts (29 pages).I hope you will enjoy playing these selections and please search for other arrangements by Regis Bookshar. There are numerous selections in a variety of styles, also available for purchase. I think you will be pleased with what you may find.

Piano Solo - Level 4 - Digital Download SKU: A0.835242 By Peter Cetera. By David Babyface Foster, Diane Nini, and Peter Cetera. Arranged by Claudio Porstmann. Contemporary. Score. 6 pages. Claudio Porstmann #4832103. Published by Claudio Porstmann (A0.835242). Glory of Love is a song from the 80´s hit movie Karate Kid II. It is the title song performed by Peter Cetera which turned into a great hit. It was written after Cetera left Chicago and is on his solo album. Glory of Love is arranged for solo piano, incorporating the melody into the body of the music, so that it makes sense when played without the vocals and portrays the character of the piece. Listen to the whole song on soundcloud:https://soundcloud.com/claudio-porstmann/glory-of-love-theme-from-karate-kid-ii-peter-cetera.

Tuba Solo - Level 3 - Digital Download SKU: A0.784337 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288667. Published by Slide Ride (A0.784337). 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!

Woodwind Ensemble,Woodwind Trio Bass Clarinet,Flute - Level 4 - Digital Download SKU: A0.1394226 Composed by Jean-Baptiste Loeillet. Arranged by Phil Beaman. Baroque,Instructional,Standards. 12 pages. Phil Beaman #977700. Published by Phil Beaman (A0.1394226). This Baroque piece was originally written by Jean Loeillet as part of a Harpsichord Suite.  It is written in the Italian Corant style in the characteristic Fast(Allegro) 3/4 with rapid running passages of eighth notes (quavers) which alternate scalar steps with large leaps.  Traditionally the piece would have been performed very cleanly, not legato.My arrangement takes the melody and passes it between the three instrument parts.  I wrote a highly ornamented continuo for each part when not playing melody.  In true Baroque style I have created a tight interplay between the parts.  Each part also has a rather wide range of about 2 octaves.  Although in a Minor Key, this piece is very bright and uplifting.  It is very accessible and thus a concert crowd pleaser.   Great for the student recitals too to learn and show mastery of Baroque techniques of clean ensemble playing and ornamentation.  Most of all, this piece is just Pure Fun!6 pages score, 2 pages @ partRanges -Flute -  second space A to high A above staffClarinet - second line G# to high D above staffBass Clarinet - low E below staff to high E above staff.

Organ - Level 3 - Digital Download SKU: A0.909301 Composed by Vidas Pinkevicius. 20th Century,Contemporary,Sacred. Score. 5 pages. Vidas Pinkevicius #3550417. Published by Vidas Pinkevicius (A0.909301). Today I wanted to share my newest composition - Qui sedes, Domine which is based on the Gregorian chant Gradual for the 3rd Sunday in Advent. It is dedicated to organist Angela Kraft Cross. She visited Vilnius and played the organ at Vinius University St John's church last year.Although this Gradual is written in the 7th mode, to make it more colorful, I often changed and transposed the mode throughout the piece.It's a free paraphrase of Gregorian chant. The pedal maintains a dialogue with the hand part.PDF score. 5 pages. Duration - 4.5 minutes. Intermediate level.When you create, miracles happen!

Piano Solo - Digital Download SKU: A0.1022078 Composed by William R Taylor. Contemporary. Score. 4 pages. William R Taylor #6347743. Published by William R Taylor (A0.1022078). (c) 2019.  The first part of this came during a composing residency when I felt hopeless about writing music.  It reminded me that I do not write the music, but it comes through me.  All but the third section came in about an hour.  Months later it seemed to need a happier section so I wrote that.  The dynamic marks are optional; playing in a traditional ragtime style is fine.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1244764 Composed by Franz Schubert. Arranged by Benzaiten Editions. Christian,Classical,Praise & Worship,Religious,Sacred. Score. 4 pages. Benzaiten Editions #839678. Published by Benzaiten Editions (A0.1244764). Soprano voice sheet music with easy piano accompaniment for Schubert’s Ave Maria in Bb Major. Arranged by Benzaiten Editions.You, a soprano, want to learn to sing the song Ave Maria from Schubert? Stay with us! The Benzaiten Editions Arrangement If you're looking for an easy / beginner soprano voice sheet music with piano accompaniment arrangement of the beautiful song “Ave Maria� from Franz Schubert, look no further! I have arranged a simple yet beautiful version of this song that is perfect for beginner musicians / those who like this incredible and timeless song. With this arrangement of Schubert’s Ave Maria, you'll be able to play this emotional melody with ease and grace. The simplified chords and melody make it easy to learn.So whether you're looking to add a new piece to your repertoire or share the gift of music with others, our easy / beginner soprano voice arrangement of Schubert’s Ave Maria is sure to inspire. Schubert Ave Maria arrangements by Benzaiten Editions In all 12 tonalities:→ Soprano voice | easy piano accompaniment: https://youtube.com/playlist?list=PLYI-3y3miDGBDP4mmtHT3WkitE63wPlcS→ Alto voice| easy piano accompaniment→ Tenor voice | easy piano accompaniment→ Baritone voice | easy piano accompaniment About the song Ave Maria is one of Franz Schubert's most well-known and revered compositions. Although it is often associated with the Catholic prayer, Schubert's music is actually an adaptation of a work by Walter Scott, a Scottish poet. Schubert composed the melody as part of his piece Ellens Gesang III (Ellen's Song III), which is a series of songs based on Scott's poems.Ave Maria was composed in 1825 and is one of the most popular and beloved pieces in the classical repertoire. The gentle and melancholic melody, combined with the Latin lyrics invoking the Virgin Mary, evokes a sense of serenity and devotion. While it was originally written for voice and piano, the melody has also been adapted for various instruments and choirs.Interestingly, Schubert was unaware that his melody would become widely known as Ave Maria. The original title of the composition is Ellens Gesang III: Hymne an die Jungfrau (Ellen's Song III: Hymn to the Virgin). The fame of Ave Maria came later when different versions of the melody were published and performed with the Latin lyrics.Due to its beauty and emotional appeal, Schubert's Ave Maria has been performed on numerous occasions, from religious ceremonies to concerts and solemn events. The piece continues to move and inspire listeners around the world, highlighting Franz Schubert's genius as a composer.

Piano Accompaniment - Level 1 - Digital Download SKU: A0.1253576 Composed by Connie Boss. Children,Instructional. Accompaniment. Duration 125. Connie Boss #847227. Published by Connie Boss (A0.1253576). This mp3 is piano accompaniment for the musical/play I have on SMP or SMD if you don't have a pianist.This Aesop's fable always teaches children a good lesson. Don't lie - people won't believe you when you are telling the truth. I have arranged it into a musical/play. It has a simple melody and is repetitive. It is best for PreK - 2nd grade. Older kids can help with the narration if needed or the teacher can. For any questions or requests, email cdboss@cvalley.net.

Piano Solo - Level 4 - Digital Download SKU: A0.823017 Composed by David Rubinstein. 20th Century,Contemporary. Score. 21 pages. David Rubinstein #5774009. Published by David Rubinstein (A0.823017). CIRCUS MUSIC (full set) The four pieces in this set attempt to capture some of the moods of the circus - spectacle, craziness, nostalgia, humor, etc. The pieces are:  1. THREE-RING CIRCUS2. CIRCUS PANTOMIME 3. CIRCUS FELLINI 4. CIRCUS MEMORY The technical level is mostly intermediate and each piece is about 2 1/2 minutes long. THREE-RING CIRCUS is the first piece in the set. It is about the spectacle and craziness of the circus. The harmonies are conventional, incongruous and dissonant. When performing the entire set, Three-Ring Circus begins the set and can also be played again at the end of the set, following Circus Memory. CIRCUS PANTOMIME: Features conventional but off-beat harmonies and rhythms, reminiscent of the musical humor of Erik Satie. CIRCUS FELLINI: Originally composed as a synthesizer demo for film scoring purposes, it has been transcribed as a piano piece. It is inspired by many Fellini films and their music. CIRCUS MEMORY A dream-like nostalgic atmosphere. 

Cello,Piano - Level 3 - Digital Download SKU: A0.1436507 Composed by David Owen. Arranged by David Warin Solomons. Classical,Contemporary,Traditional. Score and part. 3 pages. David Warin Solomons #1016620. Published by David Warin Solomons (A0.1436507). Based on a song by the Welsh harpist David OwenThe pdf contains score and separate cello part.David the bard on his bed of death liesPale are his features and dim are his eyesYet all around him his glance wildly rovesTill it alights on the harp that he loves.Give me my harp, my companion so longLet it once more add its voice to my songThough my old fingers are palsied and weakStill my good harp for its master will speak.Often the hearts of our chiefs it has stirredWhen its loud summons to battle was heardHarp of my country, dear harp of the braveLet thy last notes hover over my grave.

Full Orchestra - Level 2 - Digital Download SKU: A0.1224099 Composed by Juan María Solare. 19th Century,20th Century,21st Century,Classical,Instructional. Score and Parts. 20 pages. Juan Maria Solare #820190. Published by Juan Maria Solare (A0.1224099). Orchestraining is a cycle of orchestral studies, each of which focuses on different aspects of performance. These studies are specifically designed for non-professional orchestras, although any orchestra will improve by playing some of these pieces during rehearsals. It is always necessary to pay attention to intonation and many other aspects of orchestral performance.In addition, these studies are also useful for orchestral conducting students. For example, it is essential to know how to conduct a simultaneous attack of a chord that does not begin on the first beat, but a eighth note after the third beat.I began writing these studies around 2013, when I took over the direction of the Bremer Orchestergemeinschaft and noticed the complete absence of repertoire of this kind. As a pianist, I am accustomed to studies by Carl Czerny or playing scales. Each individual instrumentalist knows studies of technique for their instrument. However, there are no, or at least I am not aware of, similar studies for orchestral performance technique and the specific difficulties of ensemble playing that it requires. The cycle Orchestraining aims to fill this gap.The particular study Orchestraining Nr. 01 focuses on the subject of simultaneous attacks, presenting a series of staccato chords in different parts of the bar. The piece will be played twice, with different dynamics and (partly) different performing techniques (particularly in the strings: pizzicato vs. arco).Orchestraining No. 01 - simultaneous attacks*Orchestraining es un ciclo de estudios orquestales, cada uno de los cuales tematiza diferentes aspectos de la ejecución. Estos estudios están concebidos específicamente para orquestas no profesionales; sin embargo, cualquier orquesta mejorará si toca alguna de estas piezas durante los ensayos. Siempre es necesario cuidar la afinación y muchos otros aspectos de la ejecución orquestal.Adicionalmente, estos estudios son también útiles para estudiantes de dirección orquestal. Por ejemplo, es imprescindible saber cómo dirigir un ataque simultáneo de un acorde que no comienza en el uno, sino una corchea después del tercer tiempo.Comencé a escribir estos estudios hacia 2013, cuando asumí la dirección de la Bremer Orchestergemeinschaft y noté la ausencia total de repertorio de este tipo. Como pianista estoy acostumbrado a los estudios de Carl Czerny o a tocar escalas. Cada instrumentista, individualmente, conoce sobradamente estudios de técnica para su instrumento. Sin embargo no existen, o no conozco, estudios similares para la técnica de ejecución orquestal y las dificultades específicas de ensamblaje que ésta requiere. El ciclo Orchestraining intenta cubrir esta laguna.El estudio Orchestraining Nr. 01 en particular trata el tema de los ataques simultáneos, presentando una serie de acordes staccato en distintas partes del compás. La obra se tocará dos veces, con distintas dinámicas y (en parte) con distintas técnicas de ejecución (particularmente en las cuerdas: pizzicato vs. arco).

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1090868 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Folk,Multicultural,Pop,Singer/Songwriter,Standards,World. Score. 5 pages. White Piano International Publishing #692692. Published by White Piano International Publishing (A0.1090868). UNTIL WE MEET AGAIN (A Song Of Gratitude) by Robert Van Horne Piano / Vocal 5 pages Approx. Time: 2:20 It was December 2006 when I performed the First Friday Concert at the Atrium Retirement Community (now Brookdale San Jose). At the end of the program, the entertainment director presented me with a Christmas gift bag. Inside were Christmas cards from many of the residents expressing to me their holiday best wishes and how much they appreciated and enjoyed my once a month concerts. I was deeply touched by all who wrote words of kindness, thoughtfulness and gratitude. After the performance, I left feeling inspired to write a special song for all of them. UNTIL WE MEET AGAIN is that special song. I printed copies of the music and words which I presented to the Atrium residents. At the next First Friday, January 2007 concert, I performed it for the first time. This special song is: “Dedicated to all the wonderful people who live at the Atrium Retirement Community, December 2006.� The sheet music is clearly notated with meaningful lyrics, chords, piano accompaniment and vocal part. It makes a wonderful song for concluding concerts that audiences will love and appreciate. Robert Van Horne is a long standing member of ASCAP.Official Website: www.robertvanhorne.comEmail: rvh@robertvanhorne.com.

Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 2 - Digital Download SKU: A0.1291955 Composed by Grant Horsley. Christmas,Classical,Film/TV,Holiday,Standards. 22 pages. Grant Horsley #882562. Published by Grant Horsley (A0.1291955). Christmas Waltz is a short gentle waltz for flute choir scored for 4 C Flutes, Alto and Bass Flute ( A version for 6 C flutes is also available)I wanted this piece to convey the feeling of the shared warmth of having family and friends meeting over the festive season when everything is done, and now it’s time to enjoy!Written in Concert C major the introduction begins with a bell- like Christmas chime settling into the main theme which is almost like a verse and chorus. The piece has two of these sections with a link between the two. The second section is a different treatment to the first as some of the bell like figurations of the opening are incorporated. There is also a mix of staccato and legato phrasing to give contrast. The Chorus part is repeated before a short quiet reflective ending.The range is two octaves at most and there is nothing more complicated than an eighth note- hence it has been set in early intermediate level.The whole piece is on the youtube link for you to assess suitability.Ideal to be added to a Christmas concert list!It is 3 minutes 15 in length.Price is for the full score and all parts.

Instrumental Duet Instrumental Duet,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.784332 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288655. Published by Slide Ride (A0.784332). 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!