Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.798318 Composed by Phil Zeller. Arranged by Paul Hemmer. Contemporary. Score and parts. 56 pages. PJMS MUSIC #5754755. Published by PJMS MUSIC (A0.798318). On the South Side of Chicago - a terrific nostalgic tribute to the Windy City in the era when jazz was king. Vic Damone's recording was the inspiration for this big band chart. It features a complete band chorus with soli sections for saxophone and trombones - an effective trumpet soli. Then a short modulation to the vocal in C and then to Db for the last 8 bars. And, it features a big finish. Your singer, the band and audience will love it. .

Brass Ensemble Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.584672 Composed by Jeff Tincher. Contemporary. Score and parts. 44 pages. Jeff Tincher #6017773. Published by Jeff Tincher (A0.584672). This composition begins with a 4/4 March. I wanted to write a composition that started with a simple chord. As the march progresses I added a mote here and there. Each note added continues until a complete musical composition is formed. But it doesn't stop there. Once the composition is formed it progresses to a solemn, smooth 5/4 section. This section then breaks apart to where each instrument has a solo. Then the solos are combined before it returns to the original rhythm with a different chord. Hear the full version of composition on Jeff Tincher's For Brass Quartet CD. Duration = 6:57. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing.

Small Ensemble Alto Saxophone,Baritone Saxophone,Piano,Soprano Saxophone,Tenor Saxophone - Level 5 - Digital Download SKU: A0.948136 Composed by Camille Saint-Saens. Arranged by Sam Bateman. Children,Contemporary,Romantic Period. Score and parts. 14 pages. Sam Bateman #3431445. Published by Sam Bateman (A0.948136). Imagine you are at the zoo, and you stumble upon the aviary. You go inside, and you notice there are a bunch of little birdies flying around, jittering away. But then there's this one bird that just won't shut up, but it doesn't annoy you, and it's a fascinating little creature with its own character and sense of humour. If you think that sounds crazy, then I'm sure if you purchase this piece and listen to its rich harmony of bird calls, you'll probably picture it just fine.If you'd like to hear some of my other arrangements, feel free to check out my YouTube channel, Sam Bateman's Music. If you would like to contact me for any inquiries or requests, feel free to email me at sambateman.music@gmail.com, and I'll respond back to you as soon as possible.

Choir,Piano - Digital Download SKU: A0.1069497 Composed by Joanna Mills. Children,Instructional,Standards. Accompaniment. Duration 98. Joanna Mills Music #5197935. Published by Joanna Mills Music (A0.1069497). Use this piano track to accompany Rain, Rain, Go Away! (Songs for a Rainy Day) (S0.706285) 3-part choir arrangement for rehearsal or performances.This charming 3-Part choir arrangement is a quodlibet of three traditional songs about rain: Rain, Rain, Go Away; It's Raining, It's Pouring; and Pitter Patter Raindrops. It begins with a sparse staccato section which builds quickly to emulate the start of a rain shower, and then each song is added one after another until all three songs are sung at the same time. Then the rain sounds begin again until the rain shower ends with one final Drop. The piano score is simple and supports the singers, and because the song is in the key of F, Orff instruments can easily be added (or replace the piano entirely). Suitable for elementary aged students (range E4-D5), and perfect for a fall (autumn), spring, or early summer concert, or classroom instruction. Approximate performance time 1:40. Joanna Mills was the Gospel Choir Director at Roncesvalles United Church in Toronto, Canada for 20 years, and has been writing and arranging choral music for 15 years. Her compositions and arrangements are performed regularly by her own choir and others around the world and have won awards in songwriting competitions. She also teaches musical theatre, voice and piano.

Piano,Soprano Flute - Digital Download SKU: A0.1433845 By Traditional. By Traditional. Arranged by Joan Bujacich. Celtic,Folk,Irish,Pop,Traditional. Score and part. 10 pages. Joan Bujacich #1014054. Published by Joan Bujacich (A0.1433845). The piano and flute score is 7 pages in length, but Ms. Bujacich extracted the flute alone as well which is only 2 pages. This entire PDF then is 10 pages total with the cover. Clean, professionally notated.This arrangement by Joan Bujacich is in D Dorian mode. The flute plays the melody for the first two verses and then in the third verse it goes up an octave and the piano imitates some of the melodic lines, making for a nice dialogue between the two instruments. This medieval folk song uses  the melody later used by Simon & Garfunkel. It was first sung by Mark Anderson (1874–1953), a retired lead miner from Middleton-in-Teesdale, County Durham, England to Ewan MacColl in 1947.Scarborough Fair, was popularized in the United States by the 1960s singer-songwriting duo Simon & Garfunkel.The  folk song is about a market fair that took place in the town of Scarborough in Yorkshire during medieval times. Like any fair, it attracted traders, entertainers and food vendors, along with other hangers-on. The fair peaked in the late 14th century but continued to operate until the end of the 1700s. Now, several fairs are held in remembrance of the original.Be sure to check out Ms. Bujacich's arrangement page. She has many other great arrangements for Flute and Piano and solo piano.

String Ensemble Cello - Level 4 - Digital Download SKU: A0.1129072 Composed by JunHee Lee. Arranged by Han-Ki Kim. Chamber,Children,Classical,Instructional,Romantic Period. 28 pages. Han-Ki Kim #729598. Published by Han-Ki Kim (A0.1129072). Adapted melodie for this music is the theme of the art song Star Keeper(Poem by “Gye-seok Tak�) composed by “Junhee Lim�. So far, melodic line is concerned, mostly the Korean pentatonic scale “Do re mi so la� is used. The overall framework is an introduction/theme and three variations/cadenza/finale/end. Through the theme, it creates a musical updraft up to the second variation, and in the third variation, a relaxed atmosphere, and then a cadenza singing a conversation between a mother who sings a lullaby and a baby who is enjoying her dream comes out. The figure of the mother is the theme melody played with the G string, and the figure of the child is the cheerful high notes composed of the first five notes of the theme, “Mi Re Do Re Mi.� It then ends with a brilliant finale and a short conclusion. Attached Music file is played by Violin and Piano, it's just jor a reference.

Instrumental Duet Instrumental Duet,Multi-Percussion,Oboe - Level 5 - Digital Download SKU: A0.816703 Composed by Guy Bunce. Contemporary. Score and parts. 11 pages. Enigma Music #4984881. Published by Enigma Music (A0.816703). Entrainment (2009)Written for New Noise​Oboe & PercussionEntrainment is the process by which two oscillating systems, which have different periods when they function independently, assume the same period when interacting. The principle of entrainment is universal, appearing in chemistry, pharmacology, biology, medicine, psychology, sociology, astronomy, architecture to name but a few.This piece explores the entrainment of tempo with two initially diverse tempo structures synchronising after a period of four minutes. At the start of the score the oboe begins at 137 bpm and the percussionist at 63 bpm. Over the course of the four minutes the percussionist speeds up whilst the oboist slows down resulting in the tempi synchronising at four minutes. After four minutes the two instruments begin a discourse in unison (rhythmically, melodically, and dynamically): the musical equivalent of total synchronisation. In the final section of the piece the parts diverge with the percussionist slowing down and the oboe part maintaining its speed.As with many of my pieces, the starting point for Entrainment was an external source, in this case the song Time by Pink Floyd. The rhythmic lines throughout Entrainment are based on the rhythm to the bass line of the first part of Time. This can be clearly seen in the opening in which the oboe part employs this rhythm.Harmonically Entrainment consists of a series of key centres whose period is determined by points within the four minutes where either of the two independent parts briefly synchronise at the semiquaver level with the unit of a second. At each of these points (which become more frequent as the piece progresses), the harmonic centre changes. The harmonic centres relate directly to the chord structure of Pink Floyd's Time: at each point where either part synchronises with seconds the harmonic centre in both parts moves one chord through Time's chord sequence. At 2' 19'' the percussion and oboe part synchronise (albeit briefly) for the first time. This event was used to mark the start of more polytonal harmony as both instruments from this point forward begin their own cycles through the Time chords. Throughout the piece, points of synchronisation are highlighted musically.Performance mp3 recordings that contain a dual click track for the first four minutes of the piece can be obtained by contacting guybunce@hotmail.com. The click track is arranged so that the oboe click is on the left channel and the percussion click is on the right. An alternative click track (track 3) is also provided using a different sound (a beep). The performers should wear the headphone in one ear which corresponds to the track of their part. The dual click track can then be played on a single CD player (or mp3 player) with the output going to both sets of headphones using a headphone splitter or other device. Alternatively, files can be put on either two iPods or Mp3 players. The players will then have to synchronize the beginnings of each track.It is possible to play the piece without the use of the click track(s). If this is the case, performers should use the metronome markings and general layout of the score to aid performance. It is advisable that one player (possibly the oboist) sets the tempo and tempo changes, and the other player follows.It was not always possible to represent accurately the relationship between the two parts in the score. Arrows have been added on the score to show points of synchronisation where the score layout differs.

Small Ensemble Double Bass - Level 3 - Digital Download SKU: A0.784342 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288689. Published by Slide Ride (A0.784342). 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!

Cello Solo - Level 3 - Digital Download SKU: A0.784341 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288685. Published by Slide Ride (A0.784341). 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!

Choral Choir (2-Part) - Level 1 - Digital Download SKU: A0.781373 Composed by Joanna Mills. Arranged by Joanna Mills Music. Children,Instructional,Standards,Traditional. Octavo. 7 pages. Joanna Mills Music #5197855. Published by Joanna Mills Music (A0.781373). This charming 2-Part choir arrangement is a quodlibet of three traditional songs about rain: Rain, Rain, Go Away; It's Raining, It's Pouring; and Pitter Patter Raindrops. It begins with a sparse staccato section which builds quickly to emulate the start of a rain shower, and then each song is added one after another until all three songs have been sung overlapping. Then the rain sounds begin again until the rain shower ends with one final Drop. The piano score is simple and supports the singers, and because the song is in the key of F, Orff instruments can easily be added (or replace the piano entirely). Suitable for elementary aged students (range E4-D5), and perfect for a fall (autumn), spring, or early summer concert, or classroom instruction. Approximate performance time 1:40. Piano accompaniment track also available on SMP (S0.706399)Joanna Mills was the Gospel Choir Director at Roncesvalles United Church in Toronto, Canada for 20 years, and has been writing and arranging choral music for 15 years. Her compositions and arrangements are performed regularly by her own choir and others around the world and have won awards in songwriting competitions. She also teaches musical theatre, voice and piano.

Brass Ensemble - Level 3 - Digital Download SKU: A0.817619 Composed by James Bland. Arranged by F. Leslie Smith. Folk,Spiritual,Traditional. Score and parts. 28 pages. Sweetwater Brass Press #424503. Published by Sweetwater Brass Press (A0.817619).      James Alan Bland, composer of “In the Evening by the Moonlight,” was a prolific song writer.  He is said to have created the words and music for more than 600 compositions.  Born in 1854 to a free African American family in Flushing, New York, he made a name for himself as musician, composer and minstrel performer.  Among his compositions were “Oh, Dem Golden Slippers,” “In the Morning in the Bright Light” and “De Golden Wedding.”  His most famous song by far was “Carry Me Back to Old Virginny,” which the State of Virginia used as its official anthem for over 50 years.      Bland, in keeping with his persona as a minstrel, wrote the lyrics to “In the Evening by the Moonlight” in dialect.  Years passed and sensitivities changed, but the song’s poignant melody and basic sentiment survived.  Latter day recordings, such as those by Bing Crosby and the Ray Charles Singers, dropped the dialect and objectionable terms.  One of the most notable versions was by singer, pianist and civil rights activist Nina Simone, released in 1960 on the album Nina at Newport.      This brass quintet version begins with the group instrumentally humming along under an eight-measure Horn in F introduction.   The first statement of the melody initially takes the form of a partial call-and-response between a Trombone/Horn duo and Trumpet 1, then switches to an exchange between Trumpet 1 and Tuba.  Next, the melody is repeated but in a rhythmic pattern reminiscent of the 1880 tune “Here Dem Bells”; Tuba plays counterpoint.  Third time around, the melody is presented almost exactly as Bland wrote it and as Hitchcock’s Music Store published it in 1880.  Finally, the tempo slows and the melody is presented as so many have sung it around campfires at YMCA, 4-H and other youth camps all over the country:  softly and tenderly.  The arrangement ends with a brief recapitulation of the introduction.      There are no really difficult or tricky rhythms in this arrangement.  Trumpet 1’s highest note, which occurs in Section D, is A above its staff; Tuba’s lowest, G below the staff.  Otherwise, there are no exceptionally high or low notes.  The piece opens in the key of F major then, about halfway through, changes to G major.  Tempo opens with a suggested MM of 104, speeds up to 120, slows to 66, increases again to 122 and finally slows to 66.      Completed in 2022, performance time runs about 4 minutes, 22 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would also like to receive your suggestions, comments, corrections and criticisms.  Contact him directly at lessmith61@bellsouth.net.  For more arrangements by Les, enter "Sweetwater Brass Press" (without the quotation marks) in the SheetMusicPlus or Sheet Music Direct search box.  (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)

Flute, clarinet & piano - Digital Download SKU: IZ.CMS1814 Composed by Daniel Baldwin. Score and Parts. 15 pages. Imagine Music - Digital #CMS1814. Published by Imagine Music - Digital (IZ.CMS1814). 9 x 12 in inches.Western Serenade for Oboe, Clarinet, and Piano was a project that percolated for a few years. I began this piece when I was a student with the intention of sending it to a composition competition. I composed the first 29 measures and then left it to do another project. The sketch sat in a pile for a few years until I came in contact with KarlWentzel. Karl requested a piece for the same instrumentation; a piece perform himself and to have for his students to perform. On getting this request, I dug out that sketch and completed the piece. I think it is a fine example of my progressionfrom a student to a more honed composer.Western Serenade begins with a nice pastoral melody tossed back and forth between the two soloists. The piece then alternates between pastoral and dramatic moods and closes with an exciting and surprising presto coda.This version of Western Serenade was written for flute, clarinet, and piano.

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!

Piano Solo - Level 1 - Digital Download SKU: A0.492875 Composed by Raine. 20th Century,Classical,Contemporary. Score. 2 pages. Raine #108041. Published by Raine (A0.492875). I composed my Waltz in B minor during a quiet night looking for inspiration since it had been a while since I was able to write something. The waltz if played how I play it takes about 2 and a half minutes to complete. It begins in B minor then eventually going to E minor then back to B minor to finish the piece.

Piano Solo - Level 5 - Digital Download SKU: A0.977032 Composed by Paul SanGregory. Contemporary. Score. 10 pages. Distant Engraver Music #3534595. Published by Distant Engraver Music (A0.977032). Capricious FantasyAs per the request of pianist Michael Tsalka, this flowing, expressive and lyrical piece is based on motives from the music of Classical Bohemian composer Johann Baptist Wanhal. Motives from his Capriccio No. 3, for piano, are used as fundamental building blocks, but the style of their expression and development is radically different. Because motives from different sections or movements of Wanhal’s piece all appear in this single movement, the character and expression here is more changeable, less stable and some might even say more romantic than Wanhal’s capriccio. Technically, this piece borrows ideas of repetition and continuous flow from recent minimalist music, but the effect is more lyrical, flexible and dramatic than classic minimalism. It begins with the repetition of four chords that were derived from notes used in one of Wanhal’s melodic motives. New melodies based on that motive then enter with different phrase lengths, creating a gentle dialogue of independent voices. Eventually, a faster idea from the same capriccio is introduced, but it is first played slowly and freely before its tempo increases. The entire piece then continues unfolding as a freely flowing dialogue of moods, tempos and characters based on these three simple ideas and it culminates with fast notes and strong declarations before subsiding into a gentle ending that includes all three motives.Performance duration ca. 6 minutes.