A Complete Course to Help You Write Better Songs. Book (not sheet music). Book and CD Package. Size 8.5x11 inches. 256 pages. Published by Backbeat Books.

The Definitive Paul Simon Songbook by Paul Simon. For Melody Line, Lyrics and Chords. Music Sales America. Folk Rock. Softcover. 560 pages. Paul Simon Music #PS11594. Published by Paul Simon Music

125 Popular Songs. Composed by Various. Ukulele. Pop, Standards. Softcover. 400 pages. Published by Hal Leonard

Over 100 Songs in the Key of C. By Various. Fake Book (Includes melody line and chords). Softcover. 184 pages. Published by Hal Leonard.

Voice and Piano. By Richard Johnston. (resource book). Vocal Collection. Size 8.5x11 inches. 400 pages. Published by E.c. Kerby.

Saxophone Trio

SKU: YM.GTW01098114

Composed by Joe Hisaishi. Studio Ghibli Songs. Anime, Studio Ghibli. Score and parts. Yamaha Music Media #GTW01098114. Published by Yamaha Music Media (YM.GTW01098114).

ISBN 9784636981148. 8.5 x 12 inches.

This is a collection of 23 popular songs from Studio Ghibli's works, arranged for a duet, trio, and quartet.
The arrangements are considerably flexible, allowing the trio to play as a duet and the quartet as a trio.
The standard trio arrangement is written for 3(or 2) alto saxophones and 3(or 2) tenor saxophones, but this arrangement is also suitable for 2 alto saxophones and 1 tenor saxophone. Please refer to the guide in the score.
The quartet can also be played on 2 alto saxophones and 1 tenor saxophone. Many of the pieces are arranged for beginners, so they can be enjoyed by anyone who has just picked up an instrument.

Horn Trio

SKU: YM.GTW01100336

Composed by Joe Hisaishi. Studio Ghibli Songs. Anime, Studio Ghibli. Score and Parts. Yamaha Music Media #GTW01100336. Published by Yamaha Music Media (YM.GTW01100336).

ISBN 9784636102338. 8.5 x 12 inches.

This is a collection of 23 popular songs from Studio Ghibli's works, arranged for a duet, trio, and quartet. The arrangements are designed to be played by the same type of instruments in the same key and are considerably flexible, allowing the trio to play as a duet and the quartet as a trio. Please refer to the guide in the score if full members are not available. Many of the pieces are arranged for beginners, so they can be enjoyed by anyone who has just picked up an instrument.

Euphonium Trio

SKU: YM.GTW01100315

Composed by Joe Hisaishi. Studio Ghibli Songs. Anime, Studio Ghibli. Score and Parts. Yamaha Music Media #GTW01100315. Published by Yamaha Music Media (YM.GTW01100315).

ISBN 9784636102222. 8.5 x 12 inches.

This is a collection of 23 popular songs from Studio Ghibli's works, arranged for a duet, trio, and quartet. The arrangements are designed to be played by the same type of instruments in the same key and are considerably flexible, allowing the trio to play as a duet and the quartet as a trio. Please refer to the guide in the score if full members are not available. Many of the pieces are arranged for beginners, so they can be enjoyed by anyone who has just picked up an instrument.

(B-flat Edition). By Various. By Various. For Bb Instruments. Fake Book. Softcover. 512 pages. Published by Hal Leonard

(C Edition). By Various. By Various. Fake Book. Softcover. 464 pages. Published by Hal Leonard

(Bass Clef Edition). By Various. By Various. For Bass Clef Instruments. Fake Book. Softcover. 464 pages. Published by Hal Leonard

(E-flat Edition). By Various. By Various. For Eb Instruments. Fake Book. Softcover. 464 pages. Published by Hal Leonard

Transcontinental Music Folios. Size 8.5x11 inches. 308 pages. Published by Transcontinental Music Publications.

Chamber Music Piano

SKU: PR.110418370

Composed by Charles Ives. Arranged by Danny Holt. Performance Score. 20 pages. Duration 8 minutes. Theodore Presser Company #110-41837. Published by Theodore Presser Company (PR.110418370).

ISBN 9781491135075. UPC: 680160686247.

Compo sed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.
Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.

Mixed Choir (SMezATBarB) - Level 3

SKU: BA.BA11395

Composed by Ash Pournouri, Avicii, Salem Al Fakir, Veronica Maggio, and Vincent Pontare. Edited by Hans Vainikainen. Arranged by Hans Vainikainen. Stapled. Choral score. 11 pages. Baerenreiter Verlag #BA11395_00. Published by Baerenreiter Verlag (BA.BA11395).

ISBN 9790006568574. 29.7 x 21 cm inches. Text Language: English. Text: Al Fakir, Salem / Maggio, Veronica / Pontare, Vincent / Bergling, Tim / Pournouri, Ash.

“Hey brother! There's an endless road to rediscover
Hey sister! Know the water's sweet but blood is thicker …”

â� ��œIf the sky comes falling down, for you / There’s nothing in this world I wouldn’t do”. The subject of this energetic, life-affirming hit is being there for one another. Whether sung by female or mixed choirs, the fanfare-like theme is equally powerful and will keep the audience tapping their feet.


The editor:

Hans Vainikainen (b. 1976) hails from a new generation of conductors in the Swedish choral tradition. His conducting repertoire covers a wide range of genres and eras, from Mahler’s Eighth Symphony to the Swedish DJ Avicii. In 2005 he won the Swedish Conductors’ Prize, and two years later he was appointed artistic director of the Katarina kyrka, the home of Katarinakörerna, one of Sweden’s largest choral societies.

Hans Vainikainen heads Stockholm’s Katarinakörerna with more than 500 singers in various combinations. Their programmes cover both sacred and secular music. In his search for suitable arrangements, his eye fell on one the world’s best-known pop artists, Tim Bergling, known professionally as Avicii. He then arranged three of Avicii’s best songs for classical choirs, intending them to be encore pieces.

“Hey Brother”, “Levels” and “Without you” are now available for six-part mixed or female choir. The arrangements offer a wide variety of vocal and choral possibilities and attention has been paid that all parts are of the same musical standard. Whether homophonic or unisono, they artfully intertwine from one passage to the next. However, for all their sophistication the arrangements remain manageable and easy to learn, displaying the typical groove of each Avicii song within a multi-layered texture.

Female Choir (SSSAAA) - Level 3

SKU: BA.BA11394

Composed by Ash Pournouri, Avicii, Salem Al Fakir, Veronica Maggio, and Vincent Pontare. Edited by Hans Vainikainen. Arranged by Hans Vainikainen. Stapled. Choral score. 10 pages. Baerenreiter Verlag #BA11394_00. Published by Baerenreiter Verlag (BA.BA11394).

ISBN 9790006568567. 30 x 21.5 cm inches. Text Language: English. Text: Al Fakir, Salem / Maggio, Veronica / Pontare, Vincent / Bergling, Tim / Pournouri, Ash.

“Hey brother! There's an endless road to rediscover
Hey sister! Know the water's sweet but blood is thicker …”

â� ��œIf the sky comes falling down, for you / There’s nothing in this world I wouldn’t do”. The subject of this energetic, life-affirming hit is being there for one another. Whether sung by female or mixed choirs, the fanfare-like theme is equally powerful and will keep the audience tapping their feet.


The editor:

Hans Vainikainen (b. 1976) hails from a new generation of conductors in the Swedish choral tradition. His conducting repertoire covers a wide range of genres and eras, from Mahler’s Eighth Symphony to the Swedish DJ Avicii. In 2005 he won the Swedish Conductors’ Prize, and two years later he was appointed artistic director of the Katarina kyrka, the home of Katarinakörerna, one of Sweden’s largest choral societies.

Hans Vainikainen heads Stockholm’s Katarinakörerna with more than 500 singers in various combinations. Their programmes cover both sacred and secular music. In his search for suitable arrangements, his eye fell on one the world’s best-known pop artists, Tim Bergling, known professionally as Avicii. He then arranged three of Avicii’s best songs for classical choirs, intending them to be encore pieces.

“Hey Brother”, “Levels” and “Without you” are now available for six-part mixed or female choir. The arrangements offer a wide variety of vocal and choral possibilities and attention has been paid that all parts are of the same musical standard. Whether homophonic or unisono, they artfully intertwine from one passage to the next. However, for all their sophistication the arrangements remain manageable and easy to learn, displaying the typical groove of each Avicii song within a multi-layered texture.