Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.1030615

Composed by William Billings. Arranged by Mike Allsen. Classical,Praise & Worship,Renaissance,Sacred,Spiritual. Score and parts. 41 pages. Aaron Hettinga #636010. Published by Aaron Hettinga (A0.1030615).

William Billings (1746-1800) was North America’s first great choral composer. He spent most of his life in Boston, working at various times as a tanner or as minor civic official, and occasionally as a church musician. Billings seems to have had little formal music training, but when he was just 22, he also set himself up as an itinerant singing-master, teaching “singing-schools,� where children and adults could learn the rudiments of musical notation and solfege. To feed the market he and other singing-masters had helped to create, Billings published six collections of music, mostly for SATB voices, The first of these, The New England Psalm-Singer (1770) featured a frontispiece engraved by his friend Paul Revere. Billings was fairly prosperous by 1780s, but his good fortune faded in the 1790s. His final collection of music, The Continental Harmony of 1794, was published for his benefit by a group of Boston friends. Billings died destitute in 1800. Billings composed some 340 pieces, mostly collected in his printed editions. This music has a rough-edged and sturdy beauty that is distinctly different from anything in contemporary Europe. The vast majority of Billings’s works were hymns or “psalm tunes.� He was particularly attracted to the great English hymn-writer Isaac Watts (1674-1748), though Billings himself wrote verses for many of his hymns. One of the most famous Billings “psalm tunes,� Chester is not a Christian hymn, but rather a patriotic song of defiance directed against the British. Billings spent nearly all of the Revolutionary War in Boston and made no secret of his patriot sentiments. Chester was first published in 1770, but when he republished it in his The Singing-Master’s Assistant during the height of the war in 1778, Billings added a verse calling out the “infernal league� of the leading British generals Howe, Burgoyne, Clinton, Prescot and Cornwallis. Many brass-players will know Chester from the finale of William Schuman’s 1957 band piece A New England Triptych. Billings also composed over 50 “fuging-tunes�—a genre that usually included a short introduction and a repeated contrapuntal section. (These fuging sections usually begin with imitation, but they are otherwise not at all like classical fugues written in Europe at the time.) The fuging-tune Creation is one of his later works, published in The Continental Harmony of 1794, and experiments with the form. It sets two verses of the Watts hymn “When I With Pleasing Wonder Stand� though final line of verse 1 is repeated in a striking phrase that suddenly moves twice as fast (m.15). The fuging section begins in m.30, and rather than the usual exact repeat, Billing writes an entirely new and more elaborate second section beginning at m.44. Billings first published the simple but beautiful Africa in 1770, and published a revised version in 1778; the later version appearing with the Isaac Watts hymn “Now Shall My Inward Joys Arise.� I first arranged Africa in 1995, for the Glenwood Moravian Trombone Choir (Madison, WI), and I edited it for this publication. Phrasing and articulations marked here reflect the original vocal texts. Africa has long been a favorite of the Glenwood group. Chester and Creation were arranged in 2022. Mike Allsen February 2022.

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

SKU: A0.1502724

Composed by William Billings. Arranged by James M. Guthrie. 19th Century,Chamber,Early Music,Historic,Traditional. 22 pages. Jmsgu3 #1078394. Published by jmsgu3 (A0.1502724).

William Billings' hymn Africa is a notable composition in early American music history. Here are some key points about its significance:

Musical Characteristics
Africa is one of Billings' most ecstatic and stirring hymns. It showcases his distinctive style of four-part choral writing, typically performed as a cappella. The piece likely features Billings' characteristic use of forceful harmonies and elaborate fugal sections.

Historical Context
As part of Billings' repertoire, Africa represents an important milestone in American musical development: It was composed during the late 18th century when Billings established himself as America's first professional composer. The hymn was likely included in one of Billings' published collections, such as The New England Psalm-Singer (1770) or The Singing Master's Assistant (1776).

Cultural Impact
Africa contributed to Billings' reputation as a pioneering figure in American music, helping popularize his work throughout the Northern and Middle States.
The hymn was likely performed in church choirs and singing schools, critical cultural institutions of the time. As part of Billings' body of work, Africa played a role in establishing a distinctly American musical tradition separate from European influences.

Enduring Legacy
While Billings' popularity waned during his lifetime, his music, including Africa, has experienced a revival: It remains part of the repertoire performed by American choral groups, particularly those specializing in early music. Africa is listed among Billings' notable works in modern references, indicating its continued recognition. Africa stands as an example of Billings' innovative and influential contributions to early American sacred music.

Brass Quintet - Intermediate - Digital Download By Bill Conti/Michael Leeson. Arranged by Warren J. Wernick. Score, Set of Parts. 9 pages. Published by WW Music Enterprises

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download

SKU: A0.1036798

By The Beatles. By John Lennon and Paul McCartney. Arranged by Noel Milburn. Jazz,Pop,Rock. 29 pages. Noel Milburn #641823. Published by Noel Milburn (A0.1036798).

This fun, quirky, woodwind quintet version of The Continuing Story of Bungalow Bill allows all 5 members of the ensemble to have their own moment to shine, and will be enjoyable to play as well as for an audience to listen to.

Large Ensemble Clarinet,Drum Set,Drums,Trombone,Trumpet,Tuba,Voice - Level 3 - Digital Download

SKU: A0.734796

Composed by Traditional. Arranged by Joseph Hasper. Folk,Jazz,Traditional. Score and parts. 14 pages. Joseph Hasper #3213083. Published by Joseph Hasper (A0.734796).

Traditional sailor's song arranged for German Band with two clarinets, trumpet, trombone, tuba, and optional drums. Includes a full score and all parts. Includes optional lyrics that let you sing a verse!

Key of F. 81 measures, 20pages.

Barnacle Bill the Sailor is an American drinking song adapted from Bollocky Bill the Sailor, a traditional folk song originally titled Abraham Brown. The first printed version of the song is in the public domain book Immortalia (1927). Later versions feature the eponymous Barnacle Bill, a fictional character loosely based on a 19th-century San Francisco sailor and Gold Rush miner named William Bernard. Versions are also known in England and Scotland from the early twentieth century.

One version of Barnacle Bill refers to an exchange between Bill and a fair young maiden. Each verse opens with inquiries by the maiden, sung by women, or by men in falsetto, and continues with Bill's profane responses sung by men.

Barnacle Bill the Sailor (Roud 4704) is an American drinking song adapted from Bollocky Bill the Sailor, a traditional folk song originally titled Abraham Brown.[1]

There are several versions of the bawdy song in the Gordon Inferno Collection at the Library of Congress folklife archive. The first printed version of the song is in the public domain book Immortalia (1927). Later versions feature the eponymous Barnacle Bill, a fictional character loosely based on a 19th-century San Francisco sailor and Gold Rush miner named William Bernard.[2] Versions are also known in England and Scotland from the early twentieth century.

The earliest known recording is an expurgated adaptation by Carson Robison and Frank Luther in 1928. This version was also recorded on May 21, 1930 by Bix Beiderbecke and Hoagy Carmichael with Carson Robison on vocals and released as a Victor 78, V-38139-A and 25371. In 1996 it was released on CD on the album Bix Beiderbecke 1927–1930.[3] According to Philip R. Evans, Bix Beiderbecke's biographer, in the second chorus of this recording, violinist Joe Venuti can be heard singing Barnacle Bill the Shit-head, either to express his attitude toward the record producer, or typical of his wacky sense of humor. Esten Spurrier, a friend of Beiderbecke's, is quoted by Evans as saying that Beiderbecke told him he could not believe the record would be pressed and had felt that it had been done just for laughs. Beiderbecke cut loose on the tune with what is believed to be one of his finest cornet solos. John Valby (aka Dr. Dirty) also recorded the song.

The tune has inspired a Fleischer Studios Betty Boop cartoon and two films, as well as the name of a rock on Mars. Louis Jordan and the Tympany Five (then known as The Elks Rendezvous Band) recorded a clean version in 1938.[4] In the first Fleischer Popeye cartoon, Popeye the Sailor (1933), Barnacle Bill was used as the recurring theme for the Bluto character. A later Fleischer Popeye cartoon, Beware of Barnacle Bill (1935), is a mock operetta based around a toned-down version of the song.

Example of lyrics[edit]

One version of Barnacle Bill refers to an exchange between Bill and a fair young maiden. Each verse opens with inquiries by the maiden, sung by women, or by men in falsetto, and continues with Bill's profane responses sung by men.

Piano Solo - Level 2 - Digital Download

SKU: A0.1420696

By Survivor. By Bill Conti, Dennis Lambert, and Peter Beckett. Arranged by Julie Bai. Film/TV. Score. 4 pages. Julie Bai #1002133. Published by Julie Bai (A0.1420696).

Arranged & Performed by Julie Bai
Written by Bill Conti, Dennis Lambert & Peter Beckett
Originally Performed by Survivor From the Film, The Karate Kid (1984)
#karatekid #miyagi #cobrakai #80skid #billconti #survivor

Karate Kid Medley - The Moment of Truth/You're The Best [Piano-Steinway D]: https://youtu.be/N11PSuNh4Zc You're the Best - Midi Piano Tutorial: https://youtu.be/ocu_cPbPKjM
You're the Best - Piano Sheet Music Video: https://youtu.be/VrbDwBkKcmo
You're the Best Sheet Music: Sheet Music Direct: https://www.sheetmusicdirect.com/en-US/se/ID_No/1439757/Product.aspx
Sheet Music Plus: https://www.sheetmusicplus.com/en/product/you-re-the-best-22639649.html 

#tbt to my favorite movie of the 80s!

Brass Ensemble - Digital Download

SKU: A0.808693

Composed by Edward White. Arranged by F. Leslie Smith. Contemporary. Score and parts. 39 pages. Sweetwater Brass Press #4760441. Published by Sweetwater Brass Press (A0.808693).

    On a visit to the Isle of Wight, British composer Edward George White came across an ancient steam locomotive bearing the sobriquet Puffing Billy. Inspired, White wrote the similarly titled Puffin’ Billy in 1952. The tune was recorded by a group labeled Melodi Light Orchestra and was included in the Chappell Recorded Music Library, a collection of tunes that could be used as incidental music in various types of productions. Both British and U.S. producers made use of the library; two stand out. One was BBC’s Children’s Favourites, which adopted Puffin’ Billy as theme music in 1952 and continued its use for 14 years. The second was Captain Kangaroo, a new 8 a.m. weekday children’s program launched by CBS-TV in October 1955 starring Bob Keeshan as the title character. Each episode opened and closed with Puffin’ Billy and would do so until 1974, making it White’s most recognizable composition.
       This brass quintet version follows the 1952 Melodi Light Orchestra recording pretty closely. It retains the key signatures of the original-G to B-flat, then back to G-and the tempo (cut time; half note = 112). Trumpets’ highest note is their A above the staff; trombone has one F above the staff. Tuba’s very last note is G below the staff. The rest is pretty much within normal playing range. Trumpets get somewhat of a workout with chromatic runs in sections E and F. Most will find this an easy piece to play.
   This arrangement was completed in 2019, and performance time runs about 2 minutes, 54 seconds. The arranger, Les Smith, will be happy to provide substitute parts (e.g., treble clef baritone for trombone) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the SheetMusicPlus 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.)