String Trio Cello,Viola,Violin - Level 3 - Digital Download

SKU: A0.1488224

Composed by William Shield. Arranged by Robert Hoskins. Classical. 24 pages. Artaria Editions #1065110. Published by Artaria Editions (A0.1488224).

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Shield's three previously unpublished string trios are preserved in autograph score in the British Library under the call number Ms.Add.51015; they provide the only source for this edition.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.

Small Ensemble Clarinet,Flute,Oboe,Violin - Level 3 - Digital Download

SKU: A0.811779

Composed by Joseph Bodin De Boismortier (1689 - 1755). Arranged by Edited & arranged by Pat Spence. Baroque,Concert,Graduation,Instructional,Standards. Score and parts. 10 pages. Piper Publications #6274491. Published by Piper Publications (A0.811779).

SUITE No. 1 in C major Opus 11 No. 1 PB 277

This Suite is the first of a set of six first published by Boivin in Paris in 1727 for two musettes (bagpipes). It has been edited and arranged for pairs of flutes or oboes or violins. It would also work very well for a pair of clarinets. Players of Intermediate standard and above will enjoy the five contrasting movements in the Baroque French style, Ouverture, muzette, Viele, Menuet, Sarabande & a pair of Contredances. The format is a playing score.

The original edition used the ‘violin clef’  which placed the g above middle c on the bottom line of the stave instead of the line above as is usual today.

The notation has been modernised for ease of reading. All edits have been indicated using dashed lines or parentheses ( ). No dynamics are marked in the original edition since bagpipes do not usually have means of volume control. The dynamics I have added (in parentheses) are suggestions only.

The Suite would have been bought and played by flute, oboe and violin players as well as bagpipers. Boismortier wrote and published a substantial number of chamber works aimed at amateur players which were very popular and made him a very wealthy man.

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download

SKU: A0.553491

Composed by Ludwig van Beethoven. Arranged by Ray Thompson. Classical,Instructional,Wedding. 7 pages. RayThompsonMusic #2966917. Published by RayThompsonMusic (A0.553491).

Contre-Tanze (Country Dance) No.2 (adapted Seiss)

Beethoven wrote 12 Country Dances WoO14 for orchestra .

They are all quite short: some have trios.

They are probably better known as  a set of 3 piano pieces called  Contre-Tanzes  which are noted frei bearbeitet von Isidor Wilhelm Seiss (freely adapted by  Isidor Wilhelm Seiss)

 Isidor Seiss (23 December 1840 – 25 September 1905) was a German composer, conductor, pianist, piano pedagogue and philanthropist.

They have a romantic feel to them.

Each one of Seiss's 3 country dances are made up of extracts from 3 of Beethoven's. In some cases he uses only the trio, other times he uses the first 8 bars. Extracts are also transposed when needed to fit the home key of the piece.

My arrangement is based on the  musical layout of Seiss's Dance Number 2 which utilises extracts of Beethoven's as follows: The trio from No.5, the Trio from No 6  and part of No.12.

Seiss freely adapts Beethoven's melodies and chordal structure.

 I have used Beethoven's original orchestration as a guide to give a more authentic  classical sound.

The horn part is for a natural horn in Eb.

I have ignored the coda from Seiss's arrangement.

Hope you enjoy them.

Woodwind Ensemble,Woodwind Trio Clarinet,Flute,Oboe - Level 3 - Digital Download

SKU: A0.811700

Composed by Joseph Bodin De Boismortier (1689 - 1755). Arranged by Edited & arranged by Pat Spence. Baroque,Concert,Standards. 24 pages. Piper Publications #4310185. Published by Piper Publications (A0.811700).

The sonata is the first of a set of six published in Paris in 1725 by L’Auteur & Boivin ‘Avec Privilege du Roy.1725.’ The title page described them as ‘SONATES EN TRIO pour Trois Flûtes Transversieres sans Basse Par MR BOISMORTIER. OEVRE SEPTIÈME.’

The publication consisted of a set of parts each with the title page followed by a copy of the  Privilége granted by King Louis to Boismortier to print and sell his music.

There are 5 movements, Gravement, Allemande Gayment, lentement, Gavotte en rondeau & Gayment. Players of Intermediate standard will enjoy playing this music.

Obvious mistakes and omissions have been corrected without comment, trills have been added where there is for e.g. a sequence where only the first trill has been indicated or a similar passage has a trill in that part or another part. The more modern tr has been substituted for + and the mordant used on shorter notes retained. No dynamics were included in the original and none have been added.  Players should feel free to add their own. 

For the arrangement some changes of register have been made to accommodate the ranges of the oboe and clarinet and additional slurs have been added (dashed lines). Players are free to retain the ‘feel’ of early eighteenth century style whilst playing modern instruments.

The original publication used the, now defunct, soprano clef (with G on the bottom line of the stave) and this edition has been transcribed into the modern treble clef. In the eighteenth century it was quite usual for wind players to play several instruments. The use of the soprano clef would have made it easier to switch between flute and bassoon.

Easy Piano - Level 2 - Digital Download

SKU: A0.1261972

Composed by Johann Sebastian Bach. Arranged by Darek. Baroque,Classical,Early Music. Score. 6 pages. Darek #855057. Published by Darek (A0.1261972).

Brandenburg Concerto No. 3 in G Major (EASY PIANO) First Movement (BWV 1048) [Johann Sebastian Bach]

Simplified arrangement for pianists of Brandenburg Concerto No. 3 in G Major First Movement (BWV 1048) by Johann Sebastian Bach. Easy version for pianists | Easy piano arrangement. Included: Fingering, Dynamics, Articulations and video Youtube tutorial. 

Embark on a musical journey through the grandeur and brilliance of Johann Sebastian Bach's Brandenburg Concerto No. 3 in G Major First Movement (BWV 1048), now available in an easy-level piano sheet music edition perfect for beginner pianists. Immerse yourself in the splendor of the Baroque era as you explore the captivating melodies of this iconic composition.

I have meticulously prepared this sheet music to provide aspiring pianists like you with an accessible gateway to the world of Bach. With detailed fingering suggestions, you will effortlessly navigate the complex passages, allowing your hands to glide across the keys with confidence and ease.

Capture the essence of the composition with precise articulation markings that guide you to shape each phrase with clarity and expressiveness. The inclusion of comprehensive dynamics notation empowers you to breathe life into the music, capturing the full range of emotions embedded within this remarkable piece.

To further enrich your learning experience, I have included a valuable YouTube tutorial video that offers insightful guidance, tips, and demonstrations. This visual resource will inspire you to master the nuances of the Brandenburg Concerto No. 3 in G Major First Movement at your own pace, unlocking your full potential as a pianist.

This sheet music is thoughtfully designed for beginner pianists, offering an inviting introduction to the magnificent world of Bach's compositions. Embrace the challenge and revel in the joy of performing a piece from one of the greatest composers in history.

Join the community of passionate pianists who have embraced the grandeur of Brandenburg Concerto No. 3. Whether you are a novice seeking a captivating musical experience or an intermediate player looking to expand your repertoire, this sheet music is an ideal choice.

Unleash your musicality and let the breathtaking melodies of Bach resonate through your fingertips. Immerse yourself in the richness of the Baroque era, honing your skills and deepening your love for the piano. Don't miss the opportunity to add this timeless composition to your repertoire and captivate audiences with your heartfelt performance.

Keywords: Brandenburg Concerto No. 3, BWV 1048, Johann Sebastian Bach, piano sheet music, easy level, beginner pianists, fingering, articulation, dynamics, YouTube tutorial, Baroque era, music, pianists, composition, repertoire, musical journey, grandeur, brilliance, captivating melodies.

Guitar - Level 3 - Digital Download

SKU: A0.1177383

By Frederic Chopin. By Fre�de�ric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Instructional,Romantic Period. Guitar Tab. 6 pages. Brian Streckfus #776814. Published by Brian Streckfus (A0.1177383).

Key: Changed from B minor to A minor
Capo: 2 (If you want original key, but I wasn't a fan of capo 2; it felt like there was no bass notes.)

1. Arranged for guitar.
2. Piano pedal markings removed
3. Phrase markings removed and opted for commas.
4. Re-harmonized
5. Key changed from B minor to A minor.
6. Slurs
7. Left hand fingers
8. Tablature
9. Harmonics added when advantageous, but playing the regular note would work as well.
10. Piano pedal markings removed and replaced with commas. It's a flaw of sheet music that slurs, ties, and phrase markings are all the same symbol, and having all three happening can clutter a score.

Compromises

1. This may sound obvious, but of course I had to make some alterations to make this flow properly on guitar. Many of the original chord inversions on the piano were not kept. However, many harmonies were kept intact as far as following the chord nomenclature name.
2. Measure 50 was originally an A minor chord, the irony is that the F major suprise is an homage to Chopin anyways, suprised he didn't opt for it. To be honest, I don't like how there is a perfect authentic cadence in measure 50. I think modern audiences would want to clap too badly, so I believe that ending needs to be slightly messed up to propel the music forward, and give a sense that there is still a problem.
3. The other chord that was changed was an E7b9 to a Ddim7 in measure 78. If you know your theory well, you'll realize these chords have the same exact function and nearly the same notes, it's just that Ddim7 flowed a bit better on guitar. I'd rather have guitarists play the rhythms correctly and with musicality, than have guitarist clunkily go though overly large chords in order to mantain historical accuracy. 
4. Measure 15 was hard to keep the original chord intact. A Bb/D with a G in the melody as a suspension sounds more like a g minor chord. That is cliche Chopinesque neopolitan moment so the Bb is crucial to mantain. Having some rough sort of Bbmaj7 or G minor chord while mantaining the melody seemed to sound the best even though the name of the chord might have gotten a little off.

I tried chord charts, but they seemed messier than what it was worth. I also could have the denser tablature in the sheet music, but that does make it look 10x more intimidating. So this version is unique in that the tablature is my denser arrangement, whereas the sheet music would allow someone to quickly make a new arrangement. I like this ethos because most guitarists are likely to be much better at playing chord quickly when they don't have to have an exact voicing. This makes this arrangement easier to further perfect since I am naming the harmonies, which often isn't done in classical music.

Backstory
This is one of my favorite pieces, and also my favorite composer. I feel classical guitar repertoire is lacking easily playable music in the romantic style. Often, if it is romantic guitar music, it is extemely difficult and therefore only a select few can enjoy performing it. Also, I sometimes get my hopes up to find a romantic guitar composer, but then after listening, there's nothing quite like Chopin. Obviously, you will have to have some chops to play this since it's one of the most ambitious undertakings a guitarist could take, but it's also not so hard that you have to be train for a decade because I changed the key.

Choral Choir,Choral (SATB divisi) - Level 3 - Digital Download

SKU: A0.1109087

By Kevin Longley. By Kevin Longley. Arranged by Kevin Longley. A Cappella,Christian,Praise & Worship,Religious,Sacred. 10 pages. Kevin Longley #711630. Published by Kevin Longley (A0.1109087).

Inspiration While I have recited the Nicene Creed countless times, in July 2021 something changed. The church had cleared the return of the choir, post pandemic, and it was my first Sunday of singing in well over a year. That Sunday as I recited the creed something happened when I reached the line “And His Kingdom Will Have No End�. Was it louder? Was it spoken with greater conviction? Something was different! Maybe it was just me. I'm not sure but all I know is that every Sunday thereafter it had the same impact on me. Within a few weeks I decided to compose a choral piece about that very line. I had to! The Music For the most part the harmony and structure are traditional but do contain harmonic structures with a contemporary flair. The arrangement is refrain, verse, refrain, verse, bridge and then refrain. The first and 3rd refrains are highly similar while the second refrain contains a soprano section descant while featuring the bass's carrying the main melody. The overall intent of the music is that on every return to the refrain, it is louder than the previous refrain. This signifies the singers confidence growing, in the existence of God's Kingdom, after each verse. With that said the piece starts quietly, almost being heard from a distance. The refrain lyrics speak to the hope that we carry for God's kingdom while the verses speak to God and Jesus in a more intimate way. The bridge speaks to the strength of the Kingdom and then leads back to the opening refrain, now in double forte. The high point in the piece is reached where volume, emotion and a significant ritard occur at the phrase “we'll be together�. From there the piece decreases in volume ending in a quiet confidence repeating “No end, no end, no end�.

Piano Solo - Level 4 - Digital Download

SKU: A0.1509851

By Billy Jones. By Frank Silver and Irving Cohn. Arranged by Martyn Clive Johnson (aka Martycli Piano Guy). Barbershop,Children,Comedy,Jazz,Ragtime. Score. 8 pages. Martyn Johnson #1085079. Published by Martyn Johnson (A0.1509851).

This is a stride piano/ragtime version of the old vaudeville hit 'Yes We Have No Bananas' by Frank Silver and Irving Cohn. Most famously recorded by the perky Billy Jones. I have embellished it as much as I am able in a style of Fats Waller with a dashing of Scott Joplin. It's meant to be a humourous piece and is played better with a smile on one's face!
I always strive to keep my music as simple as possible to read and to that end don't include pedal markings, fingering or dynamics as I prefer to leave that to the individual pianist and no 2 piano teachers would ever agree on such things. 
I hope you have as much fun playing it as I did arranging it.

B-Flat Trumpet,Instrumental Duet,Tenor Trombone - Level 2 - Digital Download

SKU: A0.1186264

Composed by Silver and Cohn. Arranged by Paul Taylor (fugue writer). Broadway,Film/TV,Musical/Show,Singer/Songwriter. 4 pages. Paul Taylor #785921. Published by Paul Taylor (A0.1186264).

The principal melody of yes, we have no bananas, is presented as a two part fugue. Both the trumpet and the trombone have equally interesting parts-- a true duet in every
sense of the word. The interest of this piece is generated partly by the opposition of humor Yes, we have no bananas, from a Broadway hit from the 1920's and the seriousness and sober form of the fugue:).

Small Ensemble Clarinet,Flute,Oboe,Violin - Level 3 - Digital Download

SKU: A0.811697

Composed by MICHEL BLAVET 1700 - 1768. Arranged by Edited by Pat Spence. Baroque,Concert,Instructional. Score and parts. 28 pages. Piper Publications #4282981. Published by Piper Publications (A0.811697).

*The second of a set of 6 sonatas published in Paris by Boivin A Deux flutes transversiere sans Basse Par Mr. Handel. No manuscript has been found and there is no date of publication. Boivin was also Michel Blavet’s publisher and the flute duets and sonatas credited to Blavet have publication dates and opus numbers and his full name and the dedication details. The musical style of the 6 sonatas is characteristic of Blavet rather than Handel and none of the thematic material from these sonatas seems to have been re-used by Handel - whose borrowings from his own works are numerous and well documented.

There are 4 movements for 2 equal players of Intermediate standard, Affettuoso, Allegro, Dolce & Vivace.

They are also suitable for pairs of oboes or clarinets or violins. They have been very lightly edited, 

obvious wrong notes have been corrected, a few dynamic and decorative suggestions added in 

parentheses ( ) missing slurs added in broken lines (- -).

Woodwind Ensemble - Level 3 - Digital Download

SKU: A0.811696

Composed by MICHEL BLAVET 1700 - 1768. Arranged by Edited by Pat Spence. Baroque,Concert,Instructional. 20 pages. Piper Publications #4282825. Published by Piper Publications (A0.811696).

*The first of a set of 6 sonatas published in Paris by Boivin  A Deux flutes transversiere sans Basse

Par Mr. Handel.  No manuscript has been found and there is no date of publication. Boivin was also

Michel Blavet’s publisher and the flute duets and sonatas credited to Blavet have publication dates and

opus numbers  and his full name and the dedication details. The musical style of the 6 sonatas is

characteristic of Blavet  rather than Handel and none of the thematic material from these sonatas seems

to have been re-used by Handel - whose borrowings from his own works are numerous and well documented.

They are also suitable for pairs of oboes or clarinets or violins. They have been very lightly edited, 

obvious wrong notes have been corrected, a few dynamic and decorative suggestions added in 

parentheses ( ) missing slurs added in broken lines (- -). Players of Intermediate standard will enjoy this music written for 2 equal instruments. 4 movements - Larghetto, Allegro, Andante & Allegro.

Cello,Flute,Viola,Violin - Level 3 - Digital Download

SKU: A0.1488235

Composed by Johann Baptist Wanhal. Arranged by Uwe Grodd. Classical. 52 pages. Artaria Editions #1065122. Published by Artaria Editions (A0.1488235).

Artaria Editions AE379

The flute writing in Wanhal's quartets is a good deal less virtuosic than the solo writing found in Hofmann's quartets. The principal reason for this lies in the greater equality of part-writing and in this respect Wanhal's quartets are more modern and technically advanced than those of Hofmann. One prime example of this can be seen in Wanhal's adoption of the modern alla breve notation in first movements in preference to the fussy eight-in-a-bar favoured by Hofmann and others. There is also a greater emphasis on the development of thematic material although not to the same extent or intensity that one encounters in the composer's symphonies.

In keeping with the conventional practice of the period the flute quartets were conceived to be played with a variety of possible instruments on the top part. The London publisher Welcker, for example, issued the Op. 7 set with the title page Six Quartettes for a / Hautboy or German Flute whereas Sieber styled them Six Quartetto Concertante / Pour une Flute au Hautbois. Copies of several works from the set are preserved in manuscript as string quartets and at least one work as a clarinet quartet. There is good reason to believe that the six flute quartets under consideration were conceived as a set and probably intended for immediate publication. They first appeared under Huberty's imprint in 1771 (as Op.8) and may have been composed reasonably close to the publication date. Whether Wanhal sent the works direct to Huberty is uncertain. It is very interesting to note, however, that Sieber issued the same works in a new edition the following year - it was announced on 28 January 1772 - and this seems to have been the basis for the later (undated) Welcker edition published in London and many of the extant manuscript copies.

In the absence of both the autograph score and an authentic set of parts, this edition presents as faithfully as possible the intentions of the composer as transmitted in the Sieber print. A number of variants have been adopted from other sources, notably the Welcker edition, on the rare occasions where they appear more convincing than Sieber's text.

The style and notation of articulation and dynamic markings have been standardised throughout and, where missing from the source, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Like most eighteenth-century sources, the present manuscript is inconsistent at in its notation of appoggiature ; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; text underlay, where confused in the source, has been corrected; editorial emendations with no authority from the source are placed within brackets.

Paul Bryan, Uwe Grodd